Introduction To Photography Syllabus for Animation 2nd Sem 2017 Pattern Mumbai University

Introduction To Photography detailed Syllabus Scheme for Bachelor in Animation (Animation), 2017 regulation has been taken from the University of Mumbai official website and presented for the Engineering students. For Course Code, Course Title, Paper Type, Marks Assigned, Theory Hours/Eqvt, Practical Hours, Credits and other information, do visit full semester subjects post given below.

For all other Mumbai University Bachelor in Animation 2nd Sem Syllabus 2017 Pattern, do visit Animation 2nd Sem 2017 Pattern Scheme. The detailed syllabus scheme for introduction to photography is as follows.

Introduction To Photography Syllabus for 1st Year 2nd Sem 2017 Pattern Mumbai University

Introduction to Photography

UNIT 1

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UNIT 2

PHOTOGRAPHY THE TRADITIONAL METHOD TRADITIONAL PHOTOGRAPHIC PROCESS CONSISTS OF THREE MAIN PHASES, EXPOSING, DEVELOPING & PRINTING. A LIGHT SOURCE FALLING ON A SUBJECT GETS REFLECTED. IT IS SENT THROUGH A LENS SYSTEM TO FORM A IMAGE ON A LIGHT SENSITIVE FILM. THE LATENT IMAGE IS THEN DEVELOPED TO A VISIBLE IMAGE, FURTHER CHEMICAL DEVELOPMENT IS STOPPED, EXISTING IMAGE IS FIXED AND THEN WASHED TO GIVE A NEGATIVE IMAGE. IN PRINTING PROCESS NEGATIVE IMAGE IS PLACED BETWEEN A LIGHT SOURCE AND A LIGHT SENSITIVE PAPER TO CREATE A POSITIVE LATENT IMAGE WHICH IS LATER DEVELOPED AND FIXED IN A MORE OR LESS SIMILAR PROCESS LIKE THE NEGATIVE. 2

UNIT 3

OBSERVATON OF LIGHT SENSITIVE MATERIALS. ANOTHER IMPORTANT EVOLUTION IN PHOTOGRAPHY IS THE INTEREST OF HUMAN RACE TO STUDY ABOUT LIGHT SENSITIVE MATERIALS. MORE THAN 2,000 YEARS THE ANCIENT PHOENICIANS (THE FIRST CIVILIZED NATION IN THE WORLD) KNEW THAT A CERTAIN SNAIL LEFT A YELLOW SLIME THAT TURNED PURPLE BECAUSE OF ITS EXPOSURE TO SUNLIGHT. 2

UNIT 4

UNIT 5

DIFFERENT TYPES OF CAMERAS INSTANT COLOR FILM WAS INTRODUCED BY POLAROID IN 1963. LIKE POLAROID’S CONTEMPORARY INSTANT BLACK-AND-WHITE FILM, THEIR FIRST COLOR PRODUCT WAS A NEGATIVE-POSITIVE PEEL-APART PROCESS WHICH PRODUCED A UNIQUE PRINT ON PAPER. THE NEGATIVE COULD NOT BE RE-USED AND WAS DISCARDED. DIGITAL CAMERAS DIFFER FROM THEIR ANALOG PREDECESSORS PRIMARILY IN THAT THEY DO NOT USE FILM, BUT CAPTURE AND SAVE PHOTOGRAPHS ON DIGITAL MEMORY CARDS OR INTERNAL STORAGE INSTEAD. THEIR LOW OPERATING COSTS HAVE RELEGATED CHEMICAL CAMERAS TO NICHE MARKETS 2

UNIT 6

PHOTOGRAPHIC PRINTS TRADITIONALLY, LINEN RAG PAPERS WERE USED AS THE BASE FOR MAKING PHOTOGRAPHIC PRINTS. PRINTS ON FIBER-BASE PAPER COATED WITH A GELATIN EMULSION ARE QUITE STABLE WHEN PROPERLY PROCESSED. THEIR STABILITY IS ENHANCED IF THE PRINT IS TONED WITH EITHER SEPIA (BROWN TONE) OR SELENIUM (LIGHT, SILVERY TONE). THE NEXT INNOVATION IN PHOTOGRAPHIC PAPERS WAS RESINCOATING, OR WATER-RESISTANT PAPER. THE IDEA IS TO USE NORMALLINEN FIBER-BASE PAPER AND COAT IT WITH A PLASTIC (POLYETHYLENE) MATERIAL, MAKING THE PAPER WATER-RESISTANT. THE EMULSION IS PLACED ON A PLASTIC COVERED BASE PAPER. THE PROBLEM WITH RESIN-COATED PAPERS IS THAT THE IMAGE RIDES ON THE PLASTIC COATING, AND IS SUSCEPTIBLE TO FADING. 2

UNIT 7

UNIT 8

CHRONOLOGY OF PHTOGRAPHY PROCESSS PHOTOGRAPHY WAS ONE OF THE MOST IMPORTANT INVENTIONS OF THE NINETEENTH CENTURY. THE MEN AND WOMEN WHO WORKED WITH PHOTOGRAPHIC MATERIALS FACED MANY CHALLENGES. SOLVING ONE PROBLEM OFTEN CREATED ANOTHER. ONE PROCESS REPLACED ANOTHER AS PHOTOGRAPHY BECAME CHEAPER, EASIER, SAFER AND MORE DURABLE. HOWEVER, SEVERAL PROCESSES WERE OFTEN POPULAR AT THE SAME TIME, MUCH LIKE FILM AND DIGITAL PICTURES ARE BOTH POPULAR TODAY. 2

UNIT 9

INTRODUCTION TO DIGITAL PHOTOGRAPHY DIGITAL CAMERAS HAVE A LENS, APERTURE, AND SHUTTER, BUT THEY DO NOT USE FILM. INSTEAD, DIGITAL CAMERAS USE A SOLID-STATE DEVICE CALLED AN IMAGE SENSOR. ALTHOUGH THE IMAGE QUALITY IS NOT AS GOOD AS CONVENTIONAL PHOTOGRAPHS, DIGITAL IMAGES ARE CONVENIENT BECAUSE THEY DO NOT REQUIRE CHEMICALS OR PAPER TO PROCESS. THEY CAN BE DISPLAYED ON A WEB PAGE, SENT VIA E-MAIL, STORED ON A COMPUTER HARD DRIVE OR A COMPACT DISC, AND PRINTED ON A PAGE. 2

UNIT 10

UNIT 11

TYPES OF CAMERAS CAMERAS, WE WILL STUDY A COMPREHENSIVE HISTORY OF CAMERAS. FROM PINHOLES TO POINT-AND-SHOOTS, YOU’LL DEVELOP A BROAD BACKGROUND UNDERSTANDING OF CAMERA HISTORY, ENDING WITH AN ANALYSIS OF THE OPTIONS AVAILABLE TO YOU TODAY. 2

UNIT 12

LENSES AND FILTERS IN LESSON 1.3: LENSES AND FILTERS, WE’LL LOOK MORE CLOSELY AT THE TWO ESSENTIAL ELEMENTS IN ANY PHOTOGRAPH WORKFLOW AS WE EXPLORE CAMERA FUNCTION VIA LENSES AND FILTERS. WE’LL START BY DISCUSSING BASICS SUCH AS CAMERA AND LENS COMBINATION OPTIONS, DIAPHRAGM AND APERTURE, THEN MOVE ON TO MASTER F-STOPS AND FOCAL STRENGTH. 2

UNIT 13

UNIT 14

DEVELOPING YOUR EYE IN LESSON 2.1: DEVELOPING YOUR EYE, WE WILL BEGIN TO HARNESS YOUR NATURAL ABILITY TO CREATE BEAUTIFUL IMAGES AS WE CHANNEL THE MOST EFFECTIVE PHOTOGRAPHIC TECHNIQUES OF VISUAL ORGANIZATION AND STORYTELLING. LEARN TO EMPHASIZE YOUR MESSAGE THROUGH EFFECTIVE SUBJECT PLACEMENT AS WE ARRANGE ALL ELEMENTS OF YOUR IMAGE CAREFULLY WITHIN YOUR COMPOSITION

UNIT 15

IMAGE CAPTURE IN LESSON 2.2: IMAGE CAPTURE, WE BEGIN TO EXPLORE THE MECHANICS BEHIND HOW IMAGES ARE RECORDED DIGITALLY, INCLUDING A BRIEF BIT OF CONTEXT REGARDING HOW THEY’RE CAPTURED ON ACTUAL FILM. AT THIS POINT, YOU SHOULD BE WELL VERSED IN DIGITAL IMAGE SENSORS AND WILL BEGIN TO ADDITIONALLY UNDERSTAND THE INTRICACIES OF FILM EXPOSURE AS WELL. 2

UNIT 17

UNIT 18

WORKFLOW AND IMAGE EDITING WORKFLOW AND IMAGE EDITING, WE’RE GOING TO COVER THE WORKFLOW AND IMAGE EDITING THAT YOU’LL BE DOING IN POSTPRODUCTION, THE PHASE OF WORK THAT BEGINS WITH THE CAMERA AND THE CAPTURE OF IMAGES IN RAW, JPEG OR TIFF FORMATS. FROM BACKING UP FILES TO DELIVERING PROOFS, BY THE END OF THIS LESSON YOU’LL HAVE MASTERED A SEAMLESS, EFFECTIVE PERSONAL WORKFLOW. 2

UNIT 19

NATURAL AND AVAILABLE LIGHT NATURAL AND AVAILABLE LIGHT, WE WILL DISCUSS WHAT IT’S LIKE TO WORK WITH BOTH NATURAL AND ARTIFICIAL LIGHT. WHEN COVERING AVAILABLE LIGHT PHOTOGRAPHY, YOU’LL LEARN TO EFFECTIVELY CAPITALIZE ON AND USE THE LIGHT THAT ALREADY EXISTS IN A SCENE. BY THE END OF THIS LESSON, YOU LEARN TO ACTUALLY SEE LIGHT ON A DAILY BASIS THROUGH THE EYES OF AN EVER-DILIGENT PHOTOGRAPHER. 2

UNIT 20

PRACTICAL EXCERCISE

PORTRAIT SHOOT
EXPERMENTATION WITH SHUTTER SPEED
EXPERMENTATION WITH APPRETURE
DIFFERENT LIGHT (DAY LIGHT, FLASH LIGHT, NIGHT LIGHT)
EXPERIMENTATION WITH ISO

REFERENCE BOOK& LINKS:

Understanding Exposure, 3rd Edition: How to Shoot Great Photographs with Any Camera by Bryan Peterson
The Photographers Eye: Composition and Design for Better Digital Photos by Michael Freeman
Extraordinary Everyday Photography: Awaken Your Vision to Create Stunning Images Wherever You Are by Brenda Tharp and Jed Manwarin by Jim Miotke
BetterPhoto Basics: The Absolute Beginner’s Guide to Taking Photos Like a Pro by Jim Miotke
The Art of Photography: An Approach to Personal Expression by Bruce Barnbaum
David Busch’s Mastering Digital SLR Photography by David D. Busch

For detail syllabus of all other subjects of Bachelor in Animation (Animation), 2017 regulation do visit Animation 2nd Sem Subjects syllabus for 2017 regulation.

InI MH