Specialize in Photojournalism, one of the disciplines with the greatest number of professional opportunities, acquiring the knowledge you need in shooting, editing, mobile photojournalism and broadcasting in new channels"

The Professional master’s degree in Photojournalism provides journalism professionals with specialist knowledge from the point of view of the photographer, and the role they play in the digital world. Among the skills to be acquired are the knowledge and application of the technologies and systems used to process, elaborate and transmit information in the form of images, and express and disseminate creations or fiction from photography.

Specialize in the ideation, planning and execution of informative or visual communicative projects, specifically in the development and proposal of a photographic image adapted to the new social, cultural, economic and technological contexts. This Professional Master's Degree is taught by a team of teaching professionals who are experts in the different areas of this sector. The program brings together a range of knowledge that is very rarely found "united" in terms of what is taught at other universities.

The structure of the Professional master’s degree is developed in such a way that it begins with general knowledge based on photojournalism, with its history and genres. It then moves on to specialist knowledge, with a module devoted entirely to sports photojournalism, one of the disciplines with the greatest output and the most difficult to cover correctly, and one that is not usually studied in such a complete way.

After this first part focused mainly on theory, we move on to the more technical part, ranging from the operation of a camera to editing and digital development. During this process, there is a module dedicated to the acquisition of knowledge to develop "perfect" photographs and a module on the acquisition of skills to create and work in a photographic studio or photojournalism through a smartphone, for example.

Subsequently, the program focuses on social networks and image verification, which is so necessary today since, in 2017, the Oxford dictionary established "Fake News" as word of the year. Finally, Module 10 deals with ethics and image rights, aspects that are necessary to know and implement on a daily basis if you want to work as a photojournalist.

A unique syllabus in terms of content diversity, which enables those interested in this branch of the profession to develop specialized and necessary knowledge, to work with skill and stand out in a world invaded by photographs, many of which don’t have the minimum quality required to be published in a relevant media.

A study focused on the real acquisition of specialized knowledge that will allow you to take impactful photographs that will set you apart from the competition in the field of photojournalism"

This Professional master’s degree in Photojournalism offers you the advantages of a high-level, educational and technological course. These are some of its most notable features: 

• The latest technology in online teaching software
• A highly visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical cases presented by practising experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-evaluation and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Communication with the teacher and individual reflection work
• Content that is accessible from any fixed or portable device with an Internet connection
• Banks of complementary documentation permanently available, even after the course

A highly specialized Professional master’s degree that includes the study of the most innovative and efficient technology for taking photographs from mobile devices and the use of the most popular apps currently in use"  

The team of teachers of the Professional master’s degree in Photojournalism has extensive teaching experience at university level, both in undergraduate and postgraduate programs, and extensive experience as working professionals. This allows them to know, first hand, the profound transformation that this sector is undergoing, with the incorporation of new models of viewer or receiver of messages, control of networks, etc. Their direct experience, their knowledge, as well as the analytical capacity of the faculty, are the best source to grasp the keys to the present and the future of a vocational and exciting profession for those who love sports and communication.

The 100% online methodology of the Professional master’s degree offered at TECH Global University allows students to overcome the restrictions imposed by work obligations and the difficulty of balancing studying with their personal life.

All this educational content makes this Master's Degree a specialization degree in Photographic Journalism, which compiles all the relevant aspects that are essential to help journalism professionals become authentic experts in this profession.

All the knowledge you need to confidently face the different situations that arise in this profession, giving you the skills you need to make quick decisions"

Achieve the necessary level of quality in your photographs to make covers for the media, with images that gather all the required aspects of quality, information and impact"

The content of this program will allow the professional to learn all aspects of the different disciplines involved in this area through a very complete and well-structured syllabus that will lead to the highest standards of quality and success. A complete review that will take you to the highest level in your learning in a stimulating and intensive way.

A very complete syllabus, organized in such a way that your learning is constant, stimulating and very efficient, converting your effort into real work skills"  

Module 1. History of Photojournalism

1.1. Background of Photojournalism

1.1.1. Journalists, Reporters, Photographers, Authors, etc.
1.1.2. The First Reporters since Herodotus of Halicarnassus
1.1.3. Informers of Major Events
1.1.4. The Birth of Graphical Press
1.1.5. Francisco de Goya, Precursor of Photojournalism

1.2. Photography as a Journalistic Tool

1.2.1. Is Photography an Objective Medium?
1.2.2. Photographic Images as Sources of Information
1.2.3. Photography between Manipulation and Propaganda
1.2.4. Functions of Photography in Journalism
1.2.5. The Paparazzi Phenomenon
1.2.6. From the Photographic Essay to the Author's Photography as Frontiers
1.2.7. Interpretation of Journalistic Image

1.3. The Birth of Photography

1.3.1. The Historical Context of the Industrial Revolution
1.3.2. Nicéphore Niépce's Heliographies
1.3.3. The Spread of the Daguerreotype
1.3.4. Image Multiplication with Fox Talbot

1.4. The Influence of Technological Evolution in Photojournalism

1.4.1. From Daguerreotype to Film Reels 
1.4.2. Evolution of Cameras up to the Digital Era
1.4.3. Evolution of Reproduction and Dissemination Media up to the Internet

1.5. Early Photographers: Documentary Filmmakers and Photojournalists

1.5.1. The First Years of Documentary Photography
1.5.2. The First Photographers in the War
1.5.3. Photographers in Search of the "Photo-News"

1.6. The Rise of Photojournalism in the Interwar Period

1.6.1. The World at Odds: Communism versus Fascism
1.6.2. The Birth of Photojournalism in Germany
1.6.3. The Construction of Robert Capa

1.7. Photojournalism in the Second Half of the 20th Century

1.7.1. The Creation of Big Agencies and Magazines Magnum and Life
1.7.2. James Nachtwey and Reel Photojournalists

1.8. Photography in Current Digital Press

1.8.1. The Need for Immediacy
1.8.2. From Reflex Cameras to Mobile Photography
1.8.3. Mobiles and Social Media
1.8.4. Current Photo Essay and Photo Reportage
1.8.5. Photographic Agencies and Cooperatives
1.8.6. Current Photojournalism Awards

1.9. The Role of Women in the History of Photojournalism

1.9.1. Behind Robert Capa, the Figure of Gerda Taro
1.9.2. Dorothea Lange
1.9.3. Margaret Burke-White
1.9.4. Lee Miller
1.9.5. Berenice Abbott
1.9.6. Diana Arbus
1.9.7. Lisette Model
1.9.8. Joana Biarnés
1.9.9. Cristina García Rodero
1.9.10. Other Photojournalists in History

Module 2. Photojournalistic Genres and Specialization 

2.1. Photonews

2.1.1. Evolution of Photonews
2.1.2. The Importance of the Image
2.1.3. The Text in Photonews
2.1.4. Differences between Photonews and News Photos: The News Photo

2.2. Short Photo Reportage

2.2.1. History of Photojournalism: from Jacob Ribs to Cartier-Bresson. Examples
2.2.2. Features
2.2.3. The 5 W's' in Photojournalism
2.2.4. Methodology

2.3. In-Depth Photoreporting

2.3.1. Origins of In-Depth Photojournalism
2.3.2. Features
2.3.3. Previous Investigation
2.3.4. Methodology

2.4. Photojournalistic Essay

2.4.1. The Essay as a Form of Journalistic Expression
2.4.2. The Importance of the Author and the Point of View in the Essay
2.4.3. Iconography in the Essay The Overview

2.5. Photojournalistic Portrait

2.5.1. The Interview in Photojournalism
2.5.2. The Importance of Detail
2.5.3. The Photo-Stamp
2.5.4. The Review Photo

2.6. Resource Image

2.6.1. The Importance of Resource Images
2.6.2. The Labour of Documentation. The Photographic Archive
2.6.3. The Image as a Resource in the Layout

2.7. Photojournalism of Events

2.7.1. Evolution of Photography in Crime Journalism
2.7.2. Immediacy in Crime Journalism
2.7.3. The Value of the Testimonial versus the Quality of the Image
2.7.4. Editing Crime Photography

2.8. Conflict Photojournalism

2.8.1. History and Evolution
2.8.2. Exponents of Conflict Photojournalism From Gervasio Sánchez to Lynsey Addario
2.8.3. Previous Investigation
2.8.4. Hazards of Conflict Photojournalism
2.8.5. Images of Minors in Conflict Photojournalism

2.9. Environmental Photojournalism

2.9.1. The Environment as a Narrative Axis
2.9.2. The Aesthetics of the Image
2.9.3. The Photo Complaint

2.10. Street Photojournalism

2.10.1. The Street as a Habitat for Photography
2.10.2. New Scenarios of Street Photojournalism
2.10.3. Immortalizing the Everyday: Shooting from the Hip
2.10.4. The Citizen as a Photojournalist

Module 3. Sports Photojournalism 

3.1. The Figure of the Sports Photojournalist

3.1.1. Introduction 
3.1.2. Functions and Sources of Sports Photography
3.1.3. The Language of Sports through Images

3.2. Photographic Team

3.2.1. Cameras and Required Characteristics
3.2.2. Supplementary Materials
3.2.3. Selection and Editing

3.3. Positioning of the Photographer on the Playing Fields

3.3.1. Placement and the Importance of the Type of Lens Used
3.3.2. Soccer
3.3.3. Basketball
3.3.4. Cycling
3.3.5. Others

3.4. Current References

3.4.1. Foreign Sports Photojournalists

3.5. Photographic Awards

3.5.1. World Press Photo
3.5.2. Sony World Photography Awards
3.5.3. Others

3.6. Analysis of Iconic Photographs

3.6.1. Selection and Study of Photographs Recognizable by their Impact I
3.6.2. Selection and Study of Photographs Recognizable by their Impact I
3.6.3. Historical Publications
3.6.4. Sports Illustrated
3.6.5. El Gráfico
3.6.6. Don Balón
3.6.7. Others

3.8. The Power of Image in the Olympic Games: Barcelona’ 92

3.8.1. The City of Barcelona: Photograph of a Metamorphosis
3.8.2. The Olympic Work
3.8.3. The Symbolic Legacy

3.9. Treatment of Diversity I

3.9.1. Racism
3.9.2. Gender
3.9.3. The Invisible Role of Women on Sports Covers

3.10.  Treatment of Diversity II

3.10.1. Monitoring the Frontiers of Sexuality
3.10.2. Case Study: Caster Semenya
3.10.3. Other Similar Cases

Module 4. Photographic Technique in Photojournalism

4.1. How a Camcorder Works

4.1.1. Types of Cameras
4.1.2. Interior of an Analog SLR Camera
4.1.3. Interior of a Digital SLR Camera
4.1.4. Parts of a Digital SLR Camera
4.1.5. How a Digital SLR Camera Works
4.1.6. Differences between Reflex and Mirrorless Cameras
4.1.7. Triggering Modes

4.2. Pixels and Printing

4.2.1. What Are Pixels and What Do They Indicate?
4.2.2. Pixels and Resolution
4.2.3. The Camera Sensor and Its Types
4.2.4. Size and Sensor Proportion
4.2.5. Sensibility of the Sensor
4.2.6. Relationship between Resolution and Printing
4.2.7. How to Choose a Sensor

4.3. Color Space

4.3.1. The Visible Light Spectrum and Color Space
4.3.2. Colorimetry and the Chromaticity Diagram
4.3.3. RGB, CMYK, LAB: What Are They? Its Differences
4.3.4. Other Color Modes
4.3.5. The Profiles of Color
4.3.6. Which Mode Is Best to Work with?
4.3.7. Color Modes and Printing

4.4. Exposure, Speed and ISO

4.4.1. The Exposure Triangle and Camera Modes
4.4.2. The Opening
4.4.3. The Speed
4.4.4. ISO Sensitivity
4.4.5. The Passage of Light
4.4.6. The Law of Reciprocity
4.4.7. Examples of Correct Exposure

4.5. Histogram

4.5.1. What is a Histogram and What is it for?
4.5.2. The Dynamic Range
4.5.3. How Do you Read a Histogram?
4.5.4. Exposure Compensation
4.5.5. Exceptions to the Perfect Histogram

4.5.5.1. High Key and Low Key
4.5.5.2. High Contrast and Low Contrast

4.5.6. Correcting a Histogram after the Fact

4.6. Light Measurement

4.6.1. What is light Measurement?
4.6.2. How Do You Measure Light?

4.6.2.1. What is the Exposure Meter and How is it Used?

4.6.3. What is the Exposure Meter and How is it Used?
4.6.4. Measuring Modes and Differences between Canon and Nikon
4.6.5. How to Measure Light Correctly
4.6.6. Measurement in Mirror and Mirrorless Cameras

4.7. White Balance

4.7.1. What is White balance?
4.7.2. Need for White Balance
4.7.3. The Color Temperature
4.7.4. Modes of White Balance
4.7.5. Non-Neutral White Balance
4.7.6. Adjusting the White Balance (Depending on the Type of Light)
4.7.7. Correcting White Balance in Post-Production

4.8. Optics

4.8.1. What Is Optics?
4.8.2. What Are the Objectives?
4.8.3. Physical Parts of a Target
4.8.4. Main Characteristics on the Objectives
4.8.5. Types of Objectives

4.8.5.1. According to Focal Length Characteristics
4.8.5.2. Special Needs
4.8.5.3. According to Focal Length Characteristics

4.8.6. Which Lens to Choose Depending on the Type of Photography
4.8.7. Stabilizer, Focus Motor and Duplicator: Options to Consider

4.9. Image Extensions

4.9.1. Image Types

4.9.1.1. Bit Maps
4.9.1.2. Vector Images

4.9.2. Compression in Image Formats
4.9.3. Raster Image Formats
4.9.4. Vector Image Formats
4.9.5. Camera Shooting Formats
4.9.6. RAW and JPG: Which Is Better?
4.9.7. Image Extensions and Social Networking

4.10. Main Accessories

4.10.1. Advantages of Accessories or Why Use Camera Accessories?
4.10.2. External Battery
4.10.3. Remote Trigger
4.10.4. Flash and Flash Diffuser
4.10.5. Filters
4.10.6. Bag
4.10.7. Lens Hood
4.10.8. Memory Card
4.10.9. Tripod or Monopod

Module 5. The Perfect Photograph in Photojournalism

5.1. What is Perfect Photography?

5.1.1. Technique, Creativity or Feeling
5.1.2. Photographic Material
5.1.3. Photographic References
5.1.4. The Perfect Photograph Based on Your Objective
5.1.5. Evolution of the Concept of Perfect Photography
5.1.6. Need for Editing to Get the Perfect Picture

5.2. Depth of Field

5.2.1. What is Depth of Field?
5.2.2. What is Depth of Field for?
5.2.3. Depth of Field Factors

5.2.3.1. Diaphragm Opening
5.2.3.2. Focusing Distance
5.2.3.3. Focal Length
5.2.3.4. Circle of Confusion

5.2.4. Depth of Field and Sensor
5.2.5. Depth of Field Types
5.2.6. Hyperfocal Distance
5.2.7. Bokeh and Blur

5.3. Focus 

5.3.1. What Is Focus?
5.3.2. Methods of Focus
5.3.3. Manual Method of Focus
5.3.4. Autofocus Mode and Types
5.3.5. Differences between Simple and Continuos Focus
5.3.6. Focus Points

5.3.6.1. What Are Focus Points?
5.3.6.2. How to Use Focus Points
5.3.6.3. Cross Type Focus Points

5.3.7. Focus Areas
5.3.8. Disassociate the Focus
5.3.9. Focus Peaking

5.4. Framing    

5.4.1. What Is Framing?
5.4.2. How Do you Use Framing?
5.4.3. Types of Framing

5.4.3.1. Depending on the Aspect Ratio
5.4.3.2. According to Orientation

5.4.4. Reframing
5.4.5. Enhancing Framing

5.5. Composition

5.5.1. What Is Composition in Photography?
5.5.2. Importance of Composition
5.5.3. Where to Start Composing
5.5.4. Elements and Tools of Composition
5.5.5. Composition and Framing
5.5.6. Composition in Film
5.5.7. Phases of Composition

5.5.7.1. Precomposition: Observing, Establishing Relationships, Imagining the Result
5.5.7.2. Composition: Division into Zones of Interest, Setting Depth of Field, Checking the Result
5.5.7.3. Processing: Selection, Reflexion and Possible Editing

5.6. Technical Elements of Composition

5.6.1. Formal Elements: Point, Line, Shape and Contour
5.6.2. Visual Elements: Volume, Textures, Patterns and Rythm
5.6.3. Perspective and Objectives

5.7. Rules and Laws of Composition

5.7.1. The Rule of the Thirds
5.7.2. The Law of the Horizon
5.7.3. Use of Lines
5.7.4. The Vanishing Point
5.7.5. The Law of the Look
5.7.6. The Movement Rule
5.7.7. Negative Space
5.7.8. Element Repetition
5.7.9. Interest in Groups of Three
5.7.10. The Natural Framework
5.7.11. Symmetry
5.7.12. The Golden Rule

5.8. Using Light

5.8.1. Light Properties

5.8.1.1. Light Quality
5.8.1.2. Light Direction
5.8.1.3. Light Intensity
5.8.1.4. Light Color

5.8.2. Light Sources
5.8.3. Light Measurement
5.8.4. Means of Light Control
5.8.5. Interior and Exterior Lighting
5.8.6. Special Techniques

5.8.6.1. High Contrast Photography
5.8.6.2. Long Exposition
5.8.6.3. Lightpainting

5.9. Contrast and Balance

5.9.1. The Duality of Reality and its Impact on our Photographic Vision
5.9.2. What Is Contrast?

5.9.2.1. Types of Contrast
5.9.2.2. Most Common Contrasts

5.9.3. What Is Balance?

5.9.3.1. Types of Balance

5.9.4. Tension in Photography
5.9.5. Visual Weight
5.9.6. Applying Contrast and Balance to Achieve the Perfect Photograph

5.10. Symbolism and Psychology

5.10.1. Psychology and Photography
5.10.2. Color Psychology
5.10.3. The Use of White and Black
5.10.4. Points of View or Angulation
5.10.5. The Use of Perspective

5.10.5.1. Types of Perspectives
5.10.5.2. Creative Perspective 

5.10.6. Creativity and Photojournalism 
5.10.7. Case Studies

5.10.7.1. “The American Way of Life”, Margaret Bourke-White
5.10.7.2. Trump in Times and EFE
5.10.7.3. Emilio Morenatti and the Telephoto Lens

Module 6. Studio Photography in Photojournalism

6.1. The Photography Studio: Setting up Your Own Studio

6.1.1. Introduction
6.1.2. The Photography Studio: Background
6.1.3. Set-Up and Dismantling of the Photo Studio

6.2. The Photographic Shot

6.2.1. Introduction
6.2.2. Configuration of the Technical Parameters of the Pickup Device
6.2.3. Optics and Focal Lengths: Depth of Field and Selective Focusing

6.3. Tools for Measuring and Controlling Light

6.3.1. Introduction
6.3.2. Photometric Quantities and Units
6.3.3. Measurement Devices
6.3.4. Adjustment Charts

6.4. Basic Concept of Lighting for the Photography Studio

6.4.1. Introduction
6.4.2. The Basic Lighting Scheme
6.4.3. Basic Lighting Styles

6.5. Continuous Light vs. Flash Light

6.5.1. Introduction
6.5.2. Hand Flash
6.5.3. Measurement Modes: Manual, TTL, Bounce and Remote Strobist
6.5.4. Studio Lighting. Studio Flash
6.5.5. Mixed Lighting

6.6. Filters for Photography 

6.6.1. Introduction
6.6.2. Types of Filters

6.7. Methods to Controlling Light: Lighting Accessories 

6.7.1. Introduction
6.7.2. Accessories for Light Reflexion
6.7.3. Accessories for Light Diffusion
6.7.4. Accessories for Light Clipping
6.7.5. Other Light Accessories

6.8. Studio Photography I: Portrait and Fashion Projects

6.8.1. Evolution and Trends in Portrait and Fashion Photography
6.8.2. Portrait Styling
6.8.3. Lighting Techniques in Portrait and Fashion

6.9. Studio Photography II: Still Life and Advertising Projects

6.9.1. Staging Techniques for Still Life and Advertising Photography Projects
6.9.2. Staging Techniques for Still Life and Advertising Photography Projects
6.9.3. Techniques for Capturing and Illumination of Small Dimensional Elements

6.10.  Usability of Applications for Studio Photography: 

6.10.1. Tools for the Creation of Lighting Schematics/Sketches
6.10.2. Tools for Measuring Light

Module 7. Mobile Photojournalism 

7.1. The Multimedia Era

7.1.1. The Importance of Mobile Photojournalism
7.1.2. The Presence of Mobiles in the Media
7.1.3. Technological Advances in Devices
7.1.4. Internet and Social Media
7.1.5. Mobile Photo Group

7.2. Technical Characteristics of Smartphones

7.2.1. Pixels
7.2.2. Focal Aperture
7.2.3. Dual Camera
7.2.4. Screen
7.2.5. Camera Options

7.3. Pros and Cons of Mobile Photography

7.3.1. Portability: Size and Weight
7.3.2. Immediacy
7.3.3. Image Quality
7.3.4. Temporary Efficiency
7.3.5. Flash
7.3.6. Panoramics
7.3.7. Zoom
7.3.8. Photographs that Exist Thanks to Mobile Phones (Pandemic, Franco's Exhumation)

7.4. Accessories

7.4.1. Adaptable Targets
7.4.2. Tripods
7.4.3. Covers
7.4.4. Flashes
7.4.5. Printer
7.4.6. Gimbal

7.5. Technique and Typology

7.5.1. Lighting
7.5.2. Grid
7.5.3. Don't Use Zoom
7.5.4. Creativity: New Challenges
7.5.5. Street Photography
7.5.6. Frame Photography
7.5.7. Night Photography

7.6. Camera Applications

7.6.1. Advantages
7.6.2. Free and Paid
7.6.3. Manual Camera: DSLR Professional Camera
7.6.4. Open Camera

7.7. Editing Applications

7.7.1. Advantages
7.7.2. Free and Paid
7.7.3. VSCO
7.7.4. Pixlr

7.8. Snapseed

7.8.1. Brightness, Light and Saturation
7.8.2. Brush
7.8.3. Blurring
7.8.4. Curves
7.8.5. Stain Remover
7.8.6. Details

7.9. From Photography to Multimedia Presentation

7.9.1. Design
7.9.2. Free and Paid
7.9.3. StoryChic
7.9.4. Story Lab
7.9.5. Mojo
7.9.6. Story Maker
7.9.7. Unfold

7.10. References

7.10.1. Pioneers
7.10.2. Awarded
7.10.3. Projects

Module 8. Editing and Digital Development in Photojournalism

8.1. Digital Development

8.1.1.  Definition of Digital Development in Journalism
8.1.2.  When Is Digital Development Necessary in Journalism 
8.1.3.  Limits of Digital Development in Journalism
8.1.4.  Main Professional Programs or Packages
8.1.5.  Examples of Practical Applications of Digital Development in Journalism
8.1.6.  Bibliography

8.2. Adobe Bridge

8.2.1.  General Characteristics of Adobe Bridge
8.2.2.  Main Uses of Adobe Bridge
8.2.3.  Basic Program Interface
8.2.4.  Organization and File Filtration
8.2.5.  Basic File Editing
8.2.6.  Combination of Adobe Bridge with Other Adobe Software
8.2.7.  Exporting and Publishing Files and Batches

8.3. Adobe Photoshop

8.3.1.  Main Features of Adobe Photoshop
8.3.2.  Main Uses of Adobe Photoshop
8.3.3.  Photographic Interface of the Program
8.3.4.  Image Importing
8.3.5.  Exporting and Publishing Images

8.4. Digital Development in Adobe Photoshop

8.4.1.  The Concept of Photoshop Editing

8.4.1.1. Setting up the Workspace

8.4.2.  Main Image Settings
8.4.3.  Editing an Image: Brightness, Levels and Curves
8.4.4.  Editing an Image: Intensity, Hue and Saturation
8.4.5.  Editing an Image: Other Resources

8.5. Adobe Photoshop Retouching Techniques

8.5.1. The Concept of Photoshop Retouching
8.5.2. Main Retouching Tools
8.5.3. Most Common Retouching

8.5.3.1. Surface Removal for Compositions
8.5.3.2. Face Blurring
8.5.3.3. Shape Trimming
8.5.3.4. Facial Retouching

8.5.4. Creative Retouching

8.5.4.1. Caricatures
8.5.4.2. Special Needs

8.5.5. Creation and Use of Presets in Photoshop

8.6. Adobe Lightroom

8.6.1. General Characteristics of Adobe Lightroom
8.6.2. Main Uses of Adobe Lightroom
8.6.3. Interface of the Program in Depth
8.6.4. Importing and Classification of Images
8.6.5. Basic Image Development

8.6.5.1. Cutting Images

8.6.6. Exporting Image

8.6.6.1. Recommended Export Formats
8.6.6.2. Adding Watermarks

8.7. Digital Developing Techniques in Adobe Lightroom

8.7.1. Introduction to Development Panel
8.7.2. Histogram Editing
8.7.3. Editing the 'Basic' Panel
8.7.4. Editing the 'Tone Curve
8.7.5. Hue, Saturation and Luminance Editing
8.7.6. Tone and Detail Division
8.7.7. Lens Corrections
8.7.8. Other Resources Transform', 'Effects' and 'Calibration'
8.7.9. Editing an Image in Black and White
8.7.10. Creation and Use of Presets in Lightroom

8.8. Capture One

8.8.1.  General Characteristics in Capture One
8.8.2.  Main Uses of Capture One
8.8.3.  Interface of the Program in Depth
8.8.4.  Image Importing
8.8.5.  Importing a Catalog from Lightroom
8.8.6.  Metadata and Image Organization
8.8.7.  Exporting Image

8.9. Digital Development in Capture One

8.9.1.  Introduction to Capture One Development
8.9.2.  Concept of Layers and Masks
8.9.3.  Exposition, Histogram and Other Values
8.9.4.  Color Editing
8.9.5.  Focus and Noise Editing
8.9.6.  Lens Editing and Cropping
8.9.7.  Styles and Pre-Established Settings

8.10. Free Resources in Digital Development

8.10.1. Pixrl
8.10.2. GIMP
8.10.3. PhotoFiltre
8.10.4. PhotoScape
8.10.5. Darktable
8.10.6. Photoshop Express
8.10.7. Ribbet
8.10.8. BeFunky
8.10.9. InPixio

Module 9. Social Networks and Verification in Photojournalism

9.1. Beginnings of Photojournalism on the Web

9.1.1. Arrival of Image to the World Wide Web
9.1.2. Storytelling and Citizen Photojournalism
9.1.3. The Smartphone and the Democratization of the Image

9.2. Photojournalism in Social Media

9.2.1. Javier Bauluz
9.2.2. Victoria Iglesias
9.2.3. Miguel Riopa
9.2.4. Emilio Morenatti
9.2.5. Manu Bravo
9.2.6. Judith Prat
9.2.7. Luis Calabor

9.3. General Networks and Apps with Photo Publishing

9.3.1. Twitter
9.3.2. Facebook

9.4. Specific Photography Apps and Networks

9.4.1. Instagram
9.4.2. Pressgram
9.4.3. Flickr
9.4.4. Pinterest
9.4.5. Others

9.5. Auxiliary Tools

9.5.1. StoryChic
9.5.2. Leetags
9.5.3. Adobe Spark
9.5.4. Grid in Instagram
9.5.5. Content Programming Tools

9.6. Sales and Image Distribution 

9.6.1. Shutterstock
9.6.2. Adobe Stock
9.6.3. Gettyimages
9.6.4. Dreamstime
9.6.5. 123RF
9.6.6. Depositphotos

9.7. Online Image Galleries

9.7.1. Portfolios
9.7.2. Image Galleries
9.7.3. Photo-Essay

9.8. Main Events in Photojournalism 

9.8.1. World Press Photo
9.8.2. Magnum Photography Awards
9.8.3. Leica Oskar Barnack Award
9.8.4. Robert Capa Gold Medal
9.8.5. Mobile Photo Awards 
9.8.6. Digital Camera Photographer of the Year (Mobile Section)
9.8.7. iPhone Photography Awards (News/Events)

9.9. Image Verification Tools 

9.9.1. Manual Verification
9.9.2. Verification Tools
9.9.3. Fake news Tools

Module 10. Image Rights in Photojournalism

10.1. The Limits of Photography

10.1.1. Introduction to the Concept
10.1.2. Historical Cases
10.1.3. "Citizen Witness": Does Anything Go on the Internet?

10.2. The Code of Conduct

10.2.1. Writing as a Pivot: Unspecified Photography
10.2.2. Public Interest or Interest of the Public
10.2.3. Money before Ethics: Morbidity
10.2.4. Sexualize
10.2.5. Correcting Errors

10.3. Manipulation

10.3.1. Editing
10.3.2. Temporal
10.3.3. Case Studies

10.4. Image Rights

10.4.1. Dignity
10.4.1. Case Studies

10.5. The Eternal Debate: To Show the Reality or Sensitivity of the Viewer

10.5.1. Information or Spectator Protection
10.5.2. Economic Interests of the Media
10.5.3. Expert Opinions
10.5.4. Case Studies

10.6. Children in Images

10.6.1. Child Protection
10.6.2. When Information Takes Priority: The Aylan Case

10.7. Immigrants

10.7.1. Presentation of a Minority
10.7.2. Case Study: Bauluz-Espada

10.8. Intentionality of the Image

10.8.1. Manipulation in Taking the Photograph
10.8.2. Selective Focus

10.9. Shots

10.9.1. Angles
10.9.2. Characters
10.9.3. Color
10.9.4. Selection of Agency Images
10.9.5. Literacy: Aesthetic Dimension. The Need to Be Critical in the Face of the Image

10.10. Security Forces 

10.10.1. Historical Cases 
10.10.2. Ethical and Safe Guide to Palika Makam

10.11. Copyright

10.11.1. Know Properties Rights
10.11.2. Consistent Use of Other People's Work
10.11.3. Photography Protection

Learn, practice and position your CV amongst the most competitive in the sector”