BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| ADV4625 | Advertising Photography | Fall | 3 | 0 | 3 | 5 |
| This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
Basic information
| Language of instruction: | English |
| Type of course: | Non-Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Prof. Dr. HASAN KEMAL SUHER |
| Recommended Optional Program Components: | None |
| Course Objectives: | Students will engage in a technical study of photographic illustration in a studio setting. Photo illustration is based on a language whose vocabulary consists of sets, still lives and models; a grammar of cameras, films and lighting systems; and a photographer who creates totally controlled images directed toward fine art, editorial and commercial application. |
Learning Outcomes
|
The students who have succeeded in this course; I. Understand advertising photography within its historical practices II. Identify various applications in the genre III. Gain ability to practice advertising photography in studio and on location IV. Show dexterity in the use of practical issues of Advertising Photography V. Demonstrate ability to operate post-production softwares related to advertising purposes. |
Course Content
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Understanding the advertising characteristics of advertising photography, location, tools and techniques. | |
| 2) | CRITICS OF THE STUDENT WORK | |
| 3) | Rules of studio photography. Tools used in advertising photography. Creating a mood through lighting. | |
| 4) | CRITICS OF THE STUDENT WORK | |
| 5) | Composition Rules I | |
| 6) | CRITICS OF THE STUDENT WORK | |
| 7) | Composition rules II. point of view and shooting plans. Creating a classic campaign. | |
| 8) | Mid-term presentations | |
| 9) | Guest Photographer | |
| 12) | CRITICS OF THE STUDENT WORK | |
| 13) | CRITICS OF THE STUDENT WORK | |
| 14) | Final Study |
Sources
| Course Notes / Textbooks: | Marshall, Hugh (1989) Art-directing photography. Oxford : Phaidon. Salomon, Allyn (1982) Advertising photography. New York: American Photographic Book Pub. Creative options (1996) New York:American Showcase. www.ilford.com www.sinar.com www.ar-studio.com/Portfolios/ www.jimappleton.com/Ads-01.htm www.ericmeola.com www.the-lightbox.com/Marketing/ www.grafixoncall.com/Photography.html www.studiohl.gr/ meta4sapporo.com/english/top.html www.bga-photo.co.uk/index2.html www.photographe-de-mode.com/photos-de-mode-couleur.html www.5thfloorstudios.com/commercial.html www.mira.com www.picturesque.com freestockphotos.com www.photosource.com |
| References: |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Homework Assignments | 1 | % 20 |
| Midterms | 1 | % 30 |
| Final | 1 | % 50 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 14 | 5 | 70 |
| Homework Assignments | 1 | 7 | 7 |
| Midterms | 1 | 3 | 3 |
| Final | 1 | 3 | 3 |
| Total Workload | 125 | ||
Contribution of Learning Outcomes to Programme Outcomes
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Setting up various spaces in national and international contexts, carrying out designs, planning and applications that could satisfy various user groups and respond various requirements in the field of Interior Architecture, | |
| 2) | Analyzing the information gathered from the framework of actual physical, social and economical constraints and user requirements, and synthesizing these with diverse knowledge and considerations in order to create innovative spatial solutions, | |
| 3) | Generating creative, innovative, aesthetic and unique spatial solutions by using tangible and abstract concepts, | |
| 4) | Using at least one of the illustration and presentation technologies competently, that the field of interior architecture requires, | |
| 5) | Reporting, presenting and transferring the design, practice and research studies to the specialists or laymen by using visual, textual or oral communication methods, efficiently and accurately, | |
| 6) | Embracing and prioritizing man-environment relationships, user health, safety and security, and universal design principles in the field of interior architecture, | |
| 7) | Design understanding and decision making that respects social and cultural rights of the society, cultural heritage and nature, | |
| 8) | Being aware of national and international values, following developments and being equipped about ethical and aesthetical subjects in the fields of interior architecture, design and art, | |
| 9) | Having absolute conscious about legal regulations, standards and principles; and realizing professional ethics, duties and responsibilities in the field of Interior Architecture, |