International Master in Contemporary and Project Management

EFTI, MODOS DE MIRAR International Master in Contemporary Photography and Project Management

Foto de portada: Bego Antón / Profesora de EFTI CHARACTERISTICS AND DURATION OF MASTER 6

LANGUAGE AND PROCESS 7

PHOTOGRAPHIC ANALYSIS AND KNOWLEDGE 10 — 13

THE CREATIVE PROCESS 14 — 17

ín LIGHT AS A NARRATIVE ELEMENT AND TECHNICAL PROCESSES 18 — 20

IMPORTANT THEMES ON CONTEMPORARY PHOTOGRAPHY 25 — 28

TRANSVERSAL DISCOURSE ON dex CONTEMPORARY IMAGERY 30 — 31

FINAL PROJECT 34 — 37

MEETINGS, MENTORING, VIEWINGS AND WORKSHOPS 40 — 43

FACILITIES AND EQUIPMENT

Fragmentos de fotografías: Lottie Davies, Angélica Dass y Ricardo Cases Dass y Ricardo Davies, Angélica Lottie de fotografías: Fragmentos 44 — 46 Photography as a necessary adventure.

Where does photography currently stand? The very definition of the word photographer has changed significantly in the last two or three decades. Nowadays the technical aspect of photography is much more accessible, there are more means that are more affordable and image postproduction is available to everyone. Everyone is taking photos. Photographers are no longer revered as the great masters of photographic technique. This title no longer applies.

And yet on a daily basis more and more people find an inherent need to understand what it is that compels them and enchants them about the fascinating subject that is photography.

The International Master in Contemporary Photography and Project Management is designed for those yearning to be a part of the future of photography and for those committed to embark on this necessary adventure.

And so we will guide and encourage these aspiring adventurers to live out their dreams, impulses, and emotions uninhibitedly, so that they can find a self-identifying creative space.

A space from which images and projects emerge that reveal an individual voice. And with this voice share their inner thoughts, feelings, qualms and perspectives on life and those around them. Ultimately, to debate and form ideas within a contemporary and current disPhotographycourse on the issues of our times, and on the essence of humankind.

A great adventure awaits.

David Schäfer / Profesor de EFTI INTERNATIONAL MASTER IN CONTEMPORARY 6 — 7 PHOTOGRAPHY AND PROJECT MANAGEMENT

Duration: 15 months approximately LANGUAGE AND 674 contact hours. PROCESS 3 to 5 classes are held a week from Monday to Friday depending on the Technology related to photography, We will also propose various various workshops. both in the capture of a shot and workshops to create moments of its postproduction has helped the introspection and personal soul- Because of their characteristics some language of photography evolve searching. In this way students will classes may vary in length or date. in ways that only two decades take steps towards the exciting and ago were unimaginable. From our all the while terrifying territory The different Master groups may combine point of view, this has opened up of emotional compromise from for certain theory classes and screenings. a wide range of new photographic which some of the most renowned expressions demonstrating photographers draw their ideas Maximum of 18 students per group. the never-ending possibilities from. Finally we will give students photographers now have at their the fundamental tools needed to disposal. produce images labelled with the excellence of experience: a refined technique in lighting, Today more than ever, the in photo capture and in digital contemporary photographer must postproduction. find a compromise with the past in order to form a present point of view and seize the future. This may sound exaggerated but the truth is that if one is not conscious of where they come from and where they are, achieving interesting work in this exciting world of photography will become a difficult task.

In this unit we engage in the and we give students the tools that will help them learn and understand images thoroughly.

Ciuco Gutiérrez / Profesor de EFTI EFTI, ways of looking INTERNATIONAL MASTER IN CONTEMPORARY 10 — 11 PHOTOGRAPHY AND PROJECT MANAGEMENT

HISTORY OF PHOTOGRAPHY I, II, III, HISTORY OF PHOTOGRAPHY IX, X no filter whatsoever. This is a reality PHOTOGRAPHIC IV, and V. From the beginning of the ANALYSIS AND 1970s. and XI. New Photographic Practices from which a photographer cannot Jesús Micó (Art critic and Plastic (2000 – 2014) escape. So much information can KNOWLEDGE Artist) 20 hours Jon Uriarte (Photographer) 8 hours seem suffocating and paralyzing. Democratization of Photography. Latest trends in contemporary During this class we will analyse this International from the photography in the last decade. situation and we will do an exercise in end of XIX century. The process of order to encourage students to make modernizing photography in America OTHER . OTHERS selective decisions and to analyse the (up to World War II). History of avant- WORLDS I and II information found, with the objective garde photography in the inter-war José Otero (Photographer) 6 hours of strengthening their point of view. period. Analysis of contemporary photography in Asia, Africa and Latin America. READINGS AIMED TO CLEARING OUR The combination of art and VISION I, II, III, IV, V, VI, VII and VIII. photography and the arrival of VISUAL ANALYSIS I, II, III and IV. María Santoyo (Cultural Consultant) technology as an artistic tool. The Photographic Semantics. 17 hours process of modernizing photography Beatriz M. Barrio and Juan Valbuena is not an innate gift, an in Europe (up to World War II). (Photograhers) inexhaustible source or a self-sustai- The historical avant-garde in the 15 hours ning talent. It survives thanks to light, inter-war period. The end of the avant- The photographic work of various water and a little bit of fertilizer or, in garde. authors will be analysed in a other words, curiosity, critical thinking comparative format with the intention and effort. Reading is fundamental, World War II and its effect on of distinguishing different visual and reading images of course, but also photography towards the end of the semantic resources, which have been texts. Luckily, the restlessness of century. Origins of contemporary used to tell their stories along with various generations of critics, philoso- photography. their visual proposals. phers, writers and creators has left us a source – inexhaustible indeed – of in- HISTORY OF PHOTOGRAPHY VI, The intention is that the student formation, inspira¬tion and thoughts, VII and VIII. Transformations and acquires visual training and on which we can shape our criteria. hybridizations (1970 to the year analytical skills to be able to develop Without criteria there can’t be a vision 2000) their work in a more precise and and without a vision, our images Francisco Carpio (Art Exhibition contemporary way. would lack quality and relevance, and Commissioner and Art Critic) would get lost in a digital ocean. After 12 hours VISUAL STORMING I and II all, what is a photographer if not the The last three decades of the Beatriz M. Barrio (Fine Arts BA and producer of lasting images? XX century have represented a Photographer) 6 hours fundamental period of development Never before in the history of humanity During this course we will dedicate of the photographic language and have people had access to so much some sessions to reading, commenting has witnessed a substantial change information. The Internet offers us and discussing a selection of theory, in the thought and discourse of everything and more with literary and poetry texts, which contemporary photographers. deal not only with images and

Fotografía página anterior: La Senda y la Trama, 2015 Javier Vallhonrat / Profesor de EFTI 6 — 7

photography, but also with basic photography. Photography as a concepts that matter to any creator different way of seeing and concerned with their surroundings. representing images. Interaction between photography Sessions start with the main writings and art movements. about photography seen as a way of Active analysis and critical image representation. We will also analyse commentaries on works of art the dichotomy between fact and (M.N.C.A Reina Sofia). fiction. We will discuss different Tools for interpreting artistic images. texts dealing with four essential Meaning and symbol: concepts. principles: Time, Space, Me and the Iconography and Iconology. Method Other. These are some categories of analysis and image interpretation. that in turn include recurring themes Cultural identification of the symbol: in contemporary creation. Time connection between the symbolic idea (Memory, Legacy, Evolution, History, and its artistic representation. Sources Transformation) Me (Identity, used to analyse image contents. Gender, Transformation, Stance, How to decipher the meaning of an Spirituality) Space (Territory, Border, image. (Visit to the Prado Museum) Structures, Landscape, Atmosphere) the Other (Connection, Systems, THE PHOTOGRAPHIC MEDIUM I, II Power, Denunciation, Absence) and III. our starting point, the students Eduardo Momeñe ((Photographer) will more easily understand the THEY ARE AS WE PRESENT THEM 9 hours medium that they work with. If they José Latova (Photographer) 3 hours We will speak about the evolution desire to know more on the history Analysis of change in the interpretation of the photographic medium during of photography, they will have a of environmental reality, through the its almost 2 century long existence. good basis on which to augment evolution of the means of representation, We will address this evolution from their knowledge. We will use the starting from the first physical manifes- a conceptual and visual point of database (texts and images) that tations of human thinking, carried out in view, while concentrating on these the Internet offers us. the Palaeolithic Age 40.000 years ago, to moments, surely provoked by current representations performed with important photographers that made Contemporary and modern high technology tools. the development of photography photography is the consequence of possible while becoming the creative the pre-evolution of photography SYMBOLISM, AESTHETICS AND IMAGE medium it is today. and can only be understood if we I, II, III and IV. have information regarding the Carmen Dalmau (Art Historian) We will piece together different development of its language. We 12 hours threads to help us build a form will deal with the reasons that push Discovering and educating the of comprehension and an ample us towards a formal and conceptual viewer´s eye. Viewer and image- vision of the ground covered by approach to photography maker. Elements needed to read aesthetic photography and its nowadays. images. The aesthetic nature of short existence. Taking this as

Ricardo Cases / Profesor de EFTI INTERNATIONAL MASTER IN CONTEMPORARY 14 — 15 PHOTOGRAPHY AND PROJECT MANAGEMENT

THE CREATIVE FROM THE IDEA TO THE PERSONAL An introduction to various authors will asked to travel through their personal PROJECT I and II. Strategies and be made and we will travel through the projects while exploring and discovering PROCESS processes. worlds of film directors like Tarkovski, keys that will help them get to know 6 hours photographers like Dan Eldon and different aspects of their creative One of the evident aspects of Miroslav Tichy and other ‘outside’ artists process and how it manifests itself in contemporary photography is the (Darger, Barlett, Rodia, etc.) their work. At the same time they will be evaluation of the narrative qualities and able to discover, experiment and work references of the photographic language. From day one students will do practical on the creation of their work of art. This forces the photographer to take a work in order to strengthen their personal stand regarding the world and its research. The students will also work A STREET, A CAR, A TREE. PRACTICAL visual representation. This is why today in groups to develop a project for the EXERCISES ON URBAN PHOTOGRAPHY more than ever a photographer must work course. I, II, III, IV and V from a more personal, emotional and Ricardo Cases + Guests: Antonio formal place. During these classes we will Interaction during the workshop M. Xoubanova and Oscar Monzón analyse the evolution of photography from is essential in order to create an (Photographers) 17 hours a specific point of view and how the atmosphere of complicity and positive It’s a participatory workshop in which distortion and creation of their visual energy that will help to stimulate both students are challenged to tell stories archetypes have created a new discourse individual and group creativity. through express trips around the city. in contemporary photography. We will We will also view students’ personal The photographers Antonio Xoubanova also study strategies so that the student work and analyse it from another point and Oscar Monzón will visit us. They will can find a ‘place’ from which to develop of view. present their projects as reference to his projects. develop a discourse starting from street CREATIVITY AND PHOTOGRAPHIC ART photography. LABORATORY OF MY DREAMS I, II and III WORK: EXPLORING THE PROCESS I, II, José Ramón Bas (Photographer) 9 hours III, IV, V and VI MOBILE MICRONARRATIVES I and II This workshop is based on the search for a Javier Vallhonrat (National (From the street to the network via creative process from the inside, Photography Prize 1995) 18 hours Smartphone) investigating personal and external Analysis of the creative phenomena Miguel Ángel Tornero Cruz memories. understood as a potential act and as an (Photographer) 6 hours We will begin with exercises of different expression of a personal and intimate We start with the idea of street kinds and work with various worlds like world. It will be a multidisciplinary photography enriched with elements literature, poetry, drawing, etc., that voyage through some of the most of sound, time and movement. Our may be useful when searching for one’s elaborate theories regarding this theme. smartphones will be the tool to produce creative process. small audiovisual pieces, condensed José Ramón Bas will present his We will also explore different internal stories that are limited in time and work and explain the reasons why he aspects of the creative process. With the format that will be a collective and expresses himself the way he does. final objective of activating processes interactive on-line piece. The user will that will develop into a photographic be able to navigate, while deciding the piece of art work, the students will be rhythm of reproduction and navigation. 16 — 17

BUILDING THE WORLD WITH A GAZE I, PERSONAL PROJECT MOTIVATIONS I II and III. and II. David Jiménez (Photographer) 9 hours Beatriz Martínez (Fine Arts BA and What we call reality is a construction Photographer) 8 hours of the mind and the photographic Analysis of the psychological tool represents a powerful means to mechanisms that influence the creative explore this subjective reality and process: physiological functionality of to communicate it to others. In this the right and left hemisphere, creative workshop we will travel through blocks, obstacle and facilitators, our multiple layers of meaning that are interior critic, the error as a part of hidden in an image, we will see how the process… We will help students our point of view is capable of building recognize and optimize their way of the world and we will speak of the creating through practical exercises construction of photographic work and awareness. We will encourage while analysing the creative process of interconnections between disciplines numerous authors. as a way to generate transversal experiences that will also help develop PLANNING A PERSONAL PROJECT I a creative mind. and II. Juan Valbuena (Photographer) 6 hours PHOTOGRAPHY AND REALISM I, II Answer key questions like: What and III. should I ? And how should I David Schäfer (Photographer) 9 hours photograph? To tackle the issue of realism in Choice of themes, points of view and photography we will articulate approaches. Thoughts on the distance dialogues between theoretical between narrator and story and on production and artistic practice in order personal and professional motivations. to explain: Choice of tools, techniques and The relationship between the argentic technologies. Betting on certain image and its referent: the mirror qualities (instant / portrait / place) and metaphor, the notion of trace, time Series versus Narration. dimension and photography as a Important decision-making, notions and conventional system. orientation in the construction of a work The digital era and the index breakup: plan and development of personalized reconsideration of the testimonial proposals for every student’s project function, passage from register to according to their characteristics and representation, initial parentheses and interests. synthetic photographs.

Lottie Davies / Profesora de EFTI INTERNATIONAL MASTER IN CONTEMPORARY 18 — 19 PHOTOGRAPHY AND PROJECT MANAGEMENT

LIGHT AS A DIGITAL TOOLS I, II, III, IV, V, VI, VII LIGHTING WITH NATURAL LIGHT I, II Analysis of different narrative lighting and VIII. Advanced optimization of and III. techniques in different visual formats. NARRATIVE the shot, process and final result of Alfonso Zubiaga (Photographer) These are then put into practice on ELEMENT AND an image. 18 hours our industrial size sets (El Hangar, TECHNICAL Jorge Salgado(Photographer and Lighting still life and people using La Nave). Director of the digital department at natural light: analysis and practice. PROCESSE EFTI) 16 hours VIEWINGS AND CONCLUSIONS ON Colour management, light measuring with AND LIGHT ANALYSIS PROJECTS digital methods. Advanced configuration Daniel Parrilla (Gaffer and Chief Daniel Parrilla (Gaffer and Chief of the ’s parameters. White Lighting) 4 hours Lighting) 3 hours balance. Controlling a histogram when Analysis of a scene and its visual measuring light. Focus techniques. narrative, through colour and LIGHTING PRACTICE I, and II Camera and colour management practice. interpretation of its meaning or what Rafael de Labra (Photographer) the author wants to convey. 10 hours Formats and advanced file management. Non-destructive editing. LIGHT NARRATIVE I, II and III MOUNTING AND LIGHTING Intelligent objects. How to work with Daniel Parrilla (Gaffer and Chief DECORATIONS I and II Photoshop while using intelligent Lighting) and Rafael de Labra Daniel Parrilla (Gaffer and Chief objects. Introduction to and use of (Photographer) 8 hours Lighting) and Eduardo Parrilla (Art Lightroom. Working with different The purpose of this workshop is for Director) 12 hours versions. Selective adjustment with the student to become familiar with Implementation of the acquired Camera Raw. and understand how to handle the knowledge into practice during the technical resources related to lighting handling of continuous lighting in Advanced methods of interpolation, ways (from shooting to post-production), the construction and light decorations to improve focus, retouching selectively in order to execute excellent projects in “El Hangar”. through curves, noise reduction filters. that can be part of the current reality Dynamic range augmentation. Multiple of photographic speeches. TECHNOLOGICAL CATCH-UP. digital developing. HDR images. Jorge Salgado (Photographer and We understand that lighting is Director of the digital department at conversion options, one of the most difficult tools in EFTI) 4 hours correction of through layers, a photographer’s apprenticeship, Presentation and analysis of the latest use of adjustment layers. Exposure layer because light is not just about technological developments of , masks. formulas in a manual. It’s an essential lenses, software, etc. part of the image’s soul and of the Retouching workshop in which author’s narrative and emotional correction techniques will be applied to process, since it’s one of the aspects different types of skin. Digital makeup, that define the personality of a structural corrections for portraits and photographer. the human body. Digital surgery. 6 — 7

LIGHT IN SPACE, LIGHTING, CAMERAS AND LENSES José Latova (Photographer) 5 hours The objective pursued in this class is a global comprehension of the meaning and use of light, camera and lenses. Lighting is a complex action, which is fundamental in the process of shooting and creating images, but from the creator’s point of view it’s above all an act of understanding the world that surrounds them, through their vision and senses.

CONTROL OVER SPACE, TECHNICAL CAMERA I and II Eduardo Nave (Photographer) 8 hours Analysis of the relationship between the camera and the photographed space, by working with large format technical cameras.

PROCESS OPTIMIZATION AND FINAL TOUCHES I, II, III and IV Amador Toril (Photographer) 12 hours Explanation of various photographs belonging to real works. Analysis from the moment the photographer begins the assignment or has an idea up until the final touches searching for a high level of excellence. We will study the entire technical and creative process step by step and the strategies to follow to achieve previous defined objectives.

David Barreiro / Alumno de EFTI Working from Our Emotions Página izquierda: Sanni Saarinen / Alumna de EFTI, Luján Agusti / Premio Beca Roberto Villagraz 2016, 2016, Villagraz Roberto Beca Agusti / Premio Sanni Saarinen / Alumna de EFTI, Luján izquierda: Página de EFTI Bas / Profesor José Ramón derecha: / Alumna de EFTI; Página Alfarah Carole 246 — — 25 7

IMPORTANT THEMES ON CONTEMPORARY PHOTOGRAPHY

Photography is experiencing a In time we realize that every fascinating moment in time, maybe photograph represents an opinion and the most expansive since its discovery every opinion adds to what we could halfway through the 19th century. The call a new map of visual concept that easy access we have to information has forms humankind, society, places, helped us gain almost full knowledge territories and feelings. Photographic of the works of photographers. This traps and a continuous reiteration in forces us to expect our personal work the way we represent a human being’s to have the sufficient quality; both vision and surroundings have generated in the conceptual as in the technical archetypes and distortions that, in aspects of photography and this way contemporary times and from new become a part of the photographic points of view, are being reviewed to universe with full merits. The copy of create a new era. a copy might have been relevant years ago, but now it’s nothing more than a It is important to us that our students bad copy that nobody wants to stop reach a strong understanding of this and look at. photographic event of our time. This in other words is the rise, grasp, and And so now more than ever the value of available references (that contemporary photographer today has which is represented), above the to generate a new point of view, opinions overrating of those who represent (the and thoughts regarding visual discourses. photographer). We must be aware of The time has come to review the genres where the photographers’ compromise and create a new scale of values of the comes from, how they confront representation of the world, people, places, themselves with their work and what spaces and things. In other words we codes they depend on both formally must redefine our vital space, which also and aesthetically. sketches out our time.

Angélica Dass / Alumna de EFTI INTERNATIONAL MASTER IN CONTEMPORARY 26 — 27 PHOTOGRAPHY AND PROJECT MANAGEMENT

IDENTITY THE BODY I Y II TERRITORY SOCIETY Marina Santo (Dancer and Educator) What another has 6 hours The landscape as a The photographer that is also in me The relationship between the body metaphorical space as a social being and photography is both intimate and of knowledge has an opinion, PHOTOGRAPHY AND THE BODY explicit: both subject and object, the body Jesús Micó (Photographer) 6 hours occupies an important space in creative FRONTIERS AND PLACES OF demonstrates, The concept of Photography. The investigation. The approach on the body CONFRONTATION I, II and III reports and nude as one of the big “Visual Art genres”. as part of the creative process gives an Xavier Ribas (Artista Visual) 9 horas demands Differences between the concepts of immeasurable value to the artist in their Conceptual photography has come in Nude and Body. Historical variations of education and photographic project. close contact with the documentary genre THE IMAGE AS A TOOL FOR SOCIAL this concept. Meanings and appreciations Students will discover new forms and and has generated new areas of visual TRANSFORMATION I, II and III added to the nude concept. Direct views to visually define the body: the thought and reflection both formally and Yolanda Domínguez meanings: humankind, personal identity, perception of their own image will allow conceptually, enriching analysis of the (Multidisciplinary Artist) 9 hours sexuality. Indirect meanings: power for a greater understanding of their metaphorical spaces of confrontation and During this workshop students relationships, ideology and politics. own body, the bodies of other people, reflection. discover another possibility of the and the relationship of bodies and their photographic act: photography as a PHOTOGRAPH THE OTHERS I, II and III surroundings. URBAN DOCUMENTALISM WITH LARGE tool to bring change to the world we Bego Antón (Photographer) 9 hours FORMAT CAMERAS I, II, III, IV live in. The image, which is an aesthetic Many photographers tell stories that POLITICAL SCENES I AND II. Conflicts Eduardo Nave (Photographer) 12 hours medium, may also be a container of belong to them. We will talk about the and affections of an agreed reality The large format camera is giving messages, speeches or approaches moral implications that a portrait can Ixone Sadaba (Artista) 6 horas a new timing. that stimulate and activate the viewer’s have and we will see different ways to Thoughts on image as an object of use, The interpretation of the places and point of view. We will discuss various enter other people’s intimacy. We will form and design, keeping in mind that spaces through this format helps establish strategies such as provocation, irony, try to deal with the fear of portraying the most important thing in history is a paused and profound thought while de-contextualization... used to make the strangers and we will go deeper into how it is told. analysing our surroundings. diseases of our society visible and apply the organization and production of a them to group projects. project based on portraiture. We will STORYTELLING AND THE NEW also glance through the work of different DOCUMENTARY PHOTOGRAPHY DOCUMENTARY PROJECTS OF LONG photographers who focus on portraits. Laia Abril (Photographer) 6 hours AND SHORT DURATION I, II and III Contemporary narrative strategies: new Carlos Spottorno (Photographer) DIRECTING AND CREATING languages and documentary practices. 9 hours CHARACTERS I and II The photographer as an editor of This workshop’s objective is to improve Óscar Velado (Actor and Drama information and as storyteller. a photographer’s skills in establishing Teacher) 6 hours Examples of the complete development an effective method to broaden The aim is to give professional process of hybrid photographic projects: their photographic horizons and in photographers the tools to work with research, funding, documentation, maintaining direct contact with the actors and achieve excellent results. production, lateral thinking, puzzling, development of high-level multimedia How can I achieve a thought, a reaction editing, output cross-media: publication, projects. and an emotion when I need it? exhibition and online platforms. 28 — 29

We will address how to approach a documentary type project from a personal point of view while analysing the characteristics of different printing materials along with online methods of work. We will analyse existing cases and the various ways to proceed according to the objective we have for our documentary piece.

We will speak about the choice of a project, the necessary editing involved and adapting our work to various media.

THIS COULD BE: PHOTOGRAPHY, FICTION AND IMAGINATION I, II AND III Martín Bollati (Visual Artist) 9 hours Unlike literature, which has always had the freedom to imagine anything and everything, photography has historically been associated with concepts of ‘truth’, ‘documentary’, ‘witness images’ and other responsibilities that have limited it.

The idea of fiction allows for the existence of falsehoods. It gives way to invention and imagination.

In this workshop we will reflect on and act out the capacity for illusion of the photographic image. Through a series of exercises and proposals we will try and approach the field of fiction from a photographic perspective, working on projects that are in the developing stages or starting them from scratch, looking to shoot and generate possible ideas for a project.

Juan Valbuena / Profesor de EFTI INTERNATIONAL MASTER IN CONTEMPORARY 30 — 31 PHOTOGRAPHY AND PROJECT MANAGEMENT

TRANSVERSAL information. This is essential for applying VIDEO I, II, III, IV and V EDITING WORKSHOP I and II to contests, scholarships, etc. DISCOURSE ON Eduardo B. Muñoz and Nacho Pérez de Beatriz M. Barrio (Fine Arts BA and In this class we will explore different CONTEMPORARY Guzmán (Trampoline) 18 hours Photographer) 6 hours types of dossier and how to correctly IMAGERY These classes will be structured like the Good editing is essential in order to structure the information for them to American “hands-on cinematography” achieve a strong final project. The work. IMAGE APPROPRIATION AND NEW workshops. The objective is to study the objective of this class is to analyse the MEDIA I and II theory and elaborate a project (students student´s work and, according to FINAL DOSSIER OF PROJECT HAND- Manuel Rufo (Photographer) 6 hours are given the theory bases in order to do each of them, they will receive the OVER Display and analysis of the artistic languages that have used photography so in the first session). During the rest of editing tools needed to choose their Santiago Olmo (Critic and Curator), to express themselves, basing the classes the students will be asked essential images and to get rid of the María Santoyo (Cultural Manager) and themselves on the alteration of the to imitate cinema workflow using DSLR rest. Nowadays concentration and Guest primary meanings of language and on cameras. Classes will be given using Mac synthesis are fundamental in order to hybrids of language. platforms and Final Cut Studio: Final Cut, magnify the project and make it more colour, motion, compression, cinema tools, accurate. A motto for effective editing Analysis of the different historical trends and DVD Studio pro. Material will be filmed is that “Less is More”. Classes will be of photomontage and its evolution and using cameras Canon 5d MKII and 7dMkII practical and the students have to impact in the 20th century. with latest generation film equipment. present their projects to be edited on During the second class the students will paper prints. Digital photomontage: the influence of film a small video clip in the studio. The digital media on the development of rest of the classes will be based on finishing ARGUMENTATION AND DEVELOPMENT contemporary images. Re-reading and the project (editing, retouching colour, OF CREATIVE AND DOCUMENTARY updating of photomontage principles. etc.), publishing it on a blog on the Internet, PROJECTS I and II Viewing of the works and authors that editing a DVD and a Master file in HD. María Santoyo (Cultural Manager) have used digital methods to develop 6 hours images. Display and analysis of the SOUND RECORDING WITH DSLR In all calls for scholarships and artistic author´s work. CAMERAS prizes the artist is expected to present Rubén Labarba (Sound Technician) an argumentative text or statement for Image appropriation seen as a 4 hours their project. In these classes we will see conceptual strategy used to create new The objectives of this workshop are: the many ways of organizing one’s meanings in precedent discourses. to learn the basic concepts of sound creative discourse and how to and its circulation; to learn the theory communicate it while using pre- Viewing of videos from different authors concepts in order to control the digital determined guidelines. where image manipulation audio domain; to get to know the and photomontage principles are equipment and the devices in order HOW TO CREATE A DOSSIER present. to achieve the wanted audio effects 3 hours in the audio-visual productionpractice; Knowing how to appropriately create a and to enter a basic level of audio dossier with the correct typography and postproduction. format and with the strictly necessary

Laura Sánchez San-Segundo / Premio Beca Roberto Villagraz 2015 More than a school, a center for creating images INTERNATIONAL MASTER IN CONTEMPORARY 34 — 35 PHOTOGRAPHY AND PROJECT MANAGEMENT

FINAL PROJECT necessary information in our reach ways of production, to comply with a Guidelines and rhythm, size, order and so that they can manage distributing budget, to give up. Through case studies sense. Class on different criteria used in their projects all over the world in an we will explain what the creation of an narrative sequencing for photo books. PRESENTATION AND optimal and efficient way. exhibition project entails. From then General examples and work regarding FINAL TOUCHES. on, we will work on the organization of the students’ projects. VIEWING AND IMAGE FILES FOR PRODUCTION “micro-exhibitions” of each student’s Ideas on design and layout. Class on Eduardo Nave (Photographer) 3 hours works along with a collective exhibition, different resources used in design and PROMOTION. THE Each particular format for reproduction the thesis of which will be discussed in layout. General examples and work INDUSTRY requires a different profile and the classroom. regarding the students’ projects. resolution for the image to have an Although there are many ways to optimum register. In this class these A VISIT TO MOVOL. Production and Options in materials and finishing use photography, there is only one parameters will be revised in depth to assembly of artwork touches when reaching the final goal. way to do things properly: with achieve high quality reproductions. 5 hours Class on different possibilities in types rigor. The level of expectation This meeting will be held in a of paper and binding techniques. for a photographer nowadays EXHIBITION AS A FORM OF professional laboratory where students General examples and work regarding is very high due to the huge DISTRIBUTION I, II, III, IV, V AND VI will witness different materials that are the students’ projects amount of competition and easy María Santoyo (Cultural Manager) available on the market, both papers access to information regarding (chemical or inkjet) and assembly photographers’ work. 20 hours MULTIMEDIA AS A DISTRIBUTION To exhibit a piece is any creator’s (frames). One of the main themes will be MEDIA I, II, and III This is why it is of upmost aspiration, if not a commitment print profiles and the durability of the José Bautista/Kansei Sounds. 9 hours importance not to find any gaps in determined by the social value the chosen materials. New technologies and applications that projects and to achieve the necessary market of art applies to the act of are within authors’ and photographers’ intensity and personal compromise inaugurating ephemeral events. Beyond IMAGE AND HYBRID LANGUAGES I and II reach and that help present their work to be competitive in the field. We the celebration of our photographs as Eugenio Ampudia (Visual Artist) in a brilliant and contemporary way believe that it is very important to a backdrop, beyond the staging, the 6 hours using audiovisual formats. Students will define a project through editing and exhibition is a language, a way to present Image, in all its dimensions, serving prepare their own audiovisual film. a continuous analysis and debate of and communicate our work, a link an idea. The revised and transformed the work. between author, piece and viewer, appropriation for the elaboration of MODERN INVENTORS AND THEIR which carries a huge suggestive contemporary narrative speeches. PROFESSIONAL CONTEXT I AND II Today it is crucial that any potential. Behind an exhibition there New semantics in the use of still images, Javier Duero (Cultural Producer) photographer or artist have ample may be a number of professionals who video, sound and installation. 6 hours knowledge and resources to make share decision making with the artist, if The following aspects will be addressed: their work known. not monopolize it. From the moment it’s PHOTO BOOKS AS A FORM OF cultural production structures, displayed, the work is handed over to DISTRIBUTION I, II, III and IV professional circuits, art industry, The world seems to have shrunk the public and the critics. So to exhibit Juan Valbuena (Photographer) ways to distribute art, fund-raising, thanks to the internet and if things means to get rid of the work, to see it 12 hours distribution tools, visibility strategies, are well done, there are no frontiers from a different perspective, to edit it Editing and selecting. Class on the networking, cooperative practices, for creators. This is why in this series according to the particular space, in three different criteria used in the editing statement writing, portfolio. In the last of classes we give students all the dimensions, to think about formats and and selection of images. General few years there has been a rapid change examples and work regarding the in the way art is produced, distributed students’ projects. and consumed. The economic and 36 — 37

social crisis has accelerated major The spectator: the hungry predator Brief individual presentations of EXHIBITION CURATORS AND THE transformations in certain sectors, and or the trapped hamster? students’ projects on screen (5 minutes) MARKET opened opportunities to others who The role of curators and critics. with a short feedback session (another Santiago Olmo (Critic and Exhibition are active, innovative and dynamic. 5 minutes). Curator) 4 hours DESIGN TECHNIQUES FOR Personalised advice and commentary The contemporary photographer must Figures like the creators, curators, PHOTOGRAPHERS for students to develop a plan for possess multidisciplinary knowledge gallery experts, etc. are under great Jaime Narváez (Designer) 6 hours personal projection and business. regarding all the aspects of the pressure caused by the speed with In the past few years, the type of paper distribution and promotional process which things are changing. The legal and work carried out by the designers SELF-MANAGEMENT: “THE ART OF of a project. In many occasions they insecurity that working with no legal has gone through changes that have SELF-PROMOTION” will have to curate their own exhibition frame around the artistic world implies meant they have had to branch out Veronika Marquez (Visual Artist) or offer a collective proposal for an causes artists to feel vulnerable while and use new media, tools, resources 6 hours institution like an art center or museum. losing influential strength in their field. and, as a consequence, responsibilities. In search of new channels of visibility, For this they must be familiar with the Where specialists used to take charge we will introduce mechanisms of different aspects of these processes. STRATEGIES FOR THE FUTURE I. of tasks such as the concept, management and channels, in which Scholarships, Contests and Viewings production, or the final product, we can advertise ourselves to an FINAL PROJECT HAND-OVER Juan Valbuena (Photographer) 3 hours designers today have to actively work international audience. We will cover Santiago Olmo, Ricardo Cases, María Answering key questions like: How on each phase of production if portfolio reviews, artist residencies, Santoyo and guest. to be seen? And, Where to be seen? they want the best results. This fairs, social networks, signature books, Thoughts on material and subject (thought out for the needs art objects as well as new spaces of OPEN CONTACT distribution choices (the book, the of photographers) addresses the distribution. We will give effective 4 hours exhibition and multimedia) with up- fundamental aspects of the history of tools to be able to face different 4 professionals in the field: a critic, to-date information directed to every graphic design through the analysis of circumstances a future artist might gallery owner, editor and curator will individual student (scholarships, these same phases (through practical come across along the way. review students’ work in an open festivals, clients, institutions exercises), which are necessary, we contact format. galleries, agencies and webs). believe, to understand contemporary PHOTOGRAPHY, LAWS, ECONOMY AND design processes. COMPANIES I and II. STRATEGIES FOR THE FUTURE II Themes: Visual narratives, editing for Javier González (Royalties specialized Eugenio Ampudia (Visual Artist) print and online, serial design, applied lawyer and Copyright) 6 hours 3 hours graphic identity/exhibition design. General consideration of Photography in The artist’s role as a subversive subject. the legal world. The use of images, the power of PRESENTATION, FUNDING AND Copyright, authority and limits to materials, changes in communication PROMOTION OF PROJECTS photographic activity. and the new approach to time and Mónica Allende (Graphic Editor for How to become a freelance space. Sunday Times Magazine) 9 hours photographer and create your own Image in movement. The speed of art. Examples of visual projects that photographic company. The intangible. The processes and are fundamental in understanding the strategies. the different narrative, funding and The exhibition space. Fairs and promotion options across Biennials. different media. Critical thought and visual language at the vanguard INTERNATIONAL MASTER IN CONTEMPORARY 40 — 41 PHOTOGRAPHY AND PROJECT MANAGEMENT

MEETINGS MEETING WITH FORMER STUDENTS I Advanced knowledge of the handheld These meetings consist of 4 hour-long AND II Direction and Coordination light meter, both in incident and seminars during which students will 4 hours reflected measuring modes, as well as be in close contact with photographic Every day a meeting with 2 former Director: María Santoyo and combined lighting measuring. authors. During this time the authors students from completed Master will be Coordinators and Mentors: Beatriz M. will speak of their work, the process held. They will be photographers, which Barrio y Juan Valbuena Basic knowledge of they chose, their doubts, their are strongly present in different areas camera. profession, their strongest passion…, of the photographic industry. They will etc. In other words they will paint a speak of their projects and experiences. Admission Process Studio flash manipulation skills. picture of their professional selves Studio lighting skills and control of the accompanied by the students. MENTORING The following documentation must elements of a set. The morning groups will share breakfast During the course we will offer 13 three- be presented or sent by email to and the afternoon groups a snack hour group mentoring sessions, in which [email protected]: Knowledge of photography’s culture with the authors so as not to interrupt we will view the student’s works, clarify (history, trends, authors). Composition the communicative intensity of the doubts and where the mentors can ask CV/Resume. and colour theory skills. meeting. students to work on certain exercises. A letter of intent/personal statement This Master’s mentors are Beatriz M. letting us know why you would like Digital theory fundamentals (digital GERVASIO SÁNCHEZ (Photographer and Barrio and Juan Valbuena. to attend this course and what you image formation, bit depth, dynamic journalist. National Photography Prize expect from it, your professional and/ range, file formats) Winner 2009) 4 hours VIEWINGS or personal objectives, and the level of During the course we will offer 11 photography skills and knowledge you Proficiency of Photoshop (tools, MANUEL VILARIÑO (Photographer and individual viewings with different teachers: have. selections, layers, clipping masks, blend National Photography Prize Winner 2007) Yolanda Domínguez, Ricardo Cases, Juan modes, adjustment layers.) 4 hours Valbue¬na, Ciuco Gutiérrez, Beatriz M. Signed declaration of possession of Barrio, Jorge Salgado and guest mentors required skills and knowledge in order Knowledge of Windows and Os (Mac) CRISTINA GARCÍA RODERO (Photographer invited during the course. to pursue this Master. operating systems. and member if MAGNUM. National Photography Prize Winner 1996) 4 hour In this mentoring , students Once the documentation has been Conocimientos de los sistemas have the option to select an individual reviewed the student will be notified operativos de Windows y de Mac. DANIEL CANOGAR (VISUAL ARTIST) 4 30-minute interview with 2 mentors of their possible admission on the hours chosen amongst the 8 suggested mentors/ Master. teachers who represent different fields of DOMÉNICO CHIAPPE (writer and knowledge. multimedia author) 4 hours Qualifications WORKSHOPS WITH Entrance requirements VERÓNICA FIEIRAS (Author and INTERNATIONAL Students receive a diploma upon Independent Editor) 4 hours PHOTOGRAPHERS Advanced knowledge and complete completion of the Master program. camera control (, ANGÉLICA DASS (Visual Artist) 4 hours There will be three 9-hour workshops speed, ISO, exposure modes, measuring with two international photographers. modes...) 42 — 43

Personal Studio Practice

In addition to the classes scheduled on the syllabus, students can do up to 360 hours of personal practice in the school studios deciding on the days and times that fit them best between studio booking times weekdays from 10.00h to 22.00h and on Saturday mornings during the school year. Students have time during the year outside of class to work on exercises and practices covered in class to develop their portfolio and to reinforce skills learnt during the course.

Starting date

September, 19 2017 from 9.00h until 12.00h or 17.00 until 20.00h

Schedule characteristics:

Classes scheduled for more than 3 hours may modify the start and finish times of a class depending on its needs

* Changes may be made to the class timetables. In no way will this affect the overall running of the course.

Miguel Ángel Tornero / Profesor de EFTI EFTI has 4.500m² in facilities dedicated exclusively to photography, an exhibition space, an art gallery dedicated to photography Galería Cero, 9 studios equipped with the Facilities and latest generation material (two of them industrial studios of 700m²), 6 Mac equipped classrooms, 2 editing rooms, 5 classrooms, 1 conference room, a multidisciplinary space for 150 people, a library, and a storage room where you will have access to the necessary Equipment equipment for your assignments (cameras, photometer, infrared triggers, backdrops, soft boxes, umbrellas, tripods, etc.)

All of the equipment used in class is included in the price of the course. During and according to their course, EFTI students have access to latest generation equipment, which is constantly renewed and revised.

90 Mac computers which provide Photoshop CS6, Lightroom 4, Aperture and Premiere 31 cameras Canon Eos 1DC, 5D Mark III, 5D Mark II, 7D y 50D 5 Fuji series X cameras 5 Olympus E-M1, Em10, Em5 54 studio flashes 5 PROFOTO generators with flash heads 3 Hasselblad 503 cameras 2 Phase One cameras 5 medium format digital backs 11 Olympus lenses 5 Tamron lenses 10 hand held flashes, Canon and Metz 3 spectrophotometers Continuous Light for Film and Photography: Arri HMI Frenell 6k, 2,5k, 1,2k, 575w Arri HMI cinePar, 1,2k Profoto Daylight HMI 800w, 400w Arri Fresnell Tungsten, 5k, 2k, 1k, 550w, 300w Kit DedoLight KinoFlo Fluorescent FlatHead, 4bank 120, 4bank60 Desisti, FilmGear, Profoto Tungsten, Chimera, Avenger, Manfrotto, etc.

The school offers its students a wide variety of over 3500 books and DVDs dedicated to the subject of photography. These books and DVDs can be freely accessed in the school’s library during the established hours and of course borrowed. and much more…

Don’t miss out on Los Viernes de EFTI (EFTI Fridays) where anyone, students or not, can freely assist interviews, conferences, presentations, round tables, etc. All contents are based on photography and other activities that you can find on our website.

If you would like to share your photos with photographers from all around the world, upload your portfolio at efti.org and participate.

Every year we publish an issue of Exc! with a selection of some of the best works created by the students who have participated in our Master.

On efti.tv you can spend some time watching videos, ‘making of’ of our classes, interviews of photographers that have come to EFTI either for their exhibitions or to give classes, etc.

Every month EFTI inaugurates photographic exhibitions in its exhibition space and in Galería Cero.

Your EFTI student card is an international student ID that offers student discounts worldwide. You can also sign up for a Casanova Foto- EFTI card (free of charge) that gives you access to many different offers. EFTI | CENTRO INTERNACIONAL DE FOTOGRAFÍA Y CINE C/ Fuenterrabía 4, 6 y 13 Madrid (España)

Telephone +34 91 552 99 99

General Information [email protected]

Information on courses [email protected]

Press [email protected]

Exhibitions [email protected]

School Opening Hours From 9.00 to 22.00

Office Opening Hours From 9.00 to 14.30 and from 16.30 to 20.30 efti.es efti.tv efti.org

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