IPLUSO 9566

Composition and Lighting

• ApresentaçãoPresentation

  .
• ProgramaProgramme

  1. Composition - Photographic composition: the nature of photographs: the physical, figurative and mental levels. - Perception. The eye and vision. Visual field: Structure of the field, ordering line, centre and periphery, visual cartography. - Structural elements of visual language: point, line, shape, texture and colour. - Point of view and scale. 2. Lighting - The camera and its components.  - Light. The formation of colour, photographic sensitivity (ISO), direct and reflected light, the colour temperature of light, the relationship between light and photographic capture. - Studio lighting. Electronic (flash) and continuous lighting. Familiarisation with equipment. Safety and handling. - The different qualities of light and their manipulation in the studio. Studying the different light modellers and analysing their action. Direction, contrast and colour. - Developing studio lighting technique. Individual, reflected, fill and cut-out light. - Continued practice.  
• ObjectivosObjectives

  The Composition and Lighting Curricular Unit aims to: familiarise students with the studio environment, creating individual and group working methods with a division of competences; promote an understanding of the language of photographic composition and the visual components that construct meaning in a shot; work with this language in the creation of images, applying artificial lighting and understanding its role in shaping the image; develop the ability to observe and analyse an image in terms of its lighting characteristics, identifying the type of light and other accessories used; know and handle light modellers, tripods, generator blocks, light meters and other studio work accessories, identifying the photographic variables needed to create an image, promoting pre-visualisation and the ability to prepare and produce a work session; understanding photographic composition as an operation on a two-dimensional plane (with a hint of three-dimensionality).
• BibliografiaBibliography

  Weston, Cris, The Essential Lighting, manual for digital and film photographers , Rotovision, 2004, Brighton, UK Adams, Ansel, The Zone System: A Câmera, O negativo, A Cópia , Editora Senac¿São Paulo, 2000 Langford, Michael, Fotografia Básica (5 ª Edição Revista e Aumentada), Dinalivro/Focal Press, 2003 Robinson, Henry Peach; The Pictorial Effect in Photography, Piper & Carter, London, 1869. Hunter, Fil, Light: Science and Magic: An Introduction to Photographic Lighting , Focal Press; 3rd edition (March 21, 2007) Shore, Stephen: The Nature of Photographs ; Phaidon Press; 2007 Kadinsky, Wassily, Ponto Linha Plano, Lisboa, Edições 70, 2002 Arnheim, Rudolf, Arte e Percepção Visual, Pioneira / Thomson Learning, São Paulo 2004  
• MetodologiaMethodology

  The integration of historical information that allows photographic composition to be seen as a result of culture incorporates an innovative character into the teaching of photographic composition as an integrated idea, negating any notion of a production recipe. This idea is developed through texts and presentations, starting with a reversal of roles. The students must present ideas based on referenced information and their own research, and the teacher must then present the main ideas, pointing out the correct notions presented and correcting the wrong ones, thus enhancing the students' understanding. Lighting is taught on the basis of studio work, enhancing understanding and perception of the use of all studio equipment.  
• LínguaLanguage

  Português
• TipoType

  Semestral
• ECTS

  4
• NaturezaNature

  Mandatory
• EstágioInternship

  Não