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Three Years Course Photography

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IED Istituto Europeo di Design - sede Milão

Three Years Course Photography - Itália

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Daniela Nogueira
Three Years Course Photography
  • Modalidade

    O IED Milão oferece o Bachelor of Arts Photography de forma presencial.

  • Duração

    O curso de Bachelor of Arts Photography do IED Milão tem duração de 3 anos.

  • Considerações

    Durante os três anos do programa de Bachelor of Arts Photography o aluno do IED Milão aprenderá como comunicar-se através de uma imagem, uma história, um pensamento ou uma emoção.

    O curso de Fotografia tem como objetivo a formação de profissionais capazes de trabalhar no campo das artes visuais. O fotógrafo, graças a suas capacidades de design, talento criativo, habilidades técnicas e sensibilidade estética, deve ser capaz de usar as imagens capturadas em fotos para comunicar-se e transmitir mensagens complexas.

    O IED Milão realiza diversos eventos para exibir o trabalho dos alunos, além de workshops que funcionam como um complemento para a formação dos estudantes.

  • Dirigido a

    O curso de fotografia é dirigido a pessoas que queiram desenvolver sua sensibilidade estética através da fotografia.

  • Área de atuação

    Apesar da popularização das câmaras digitais, que possibilitaram a expansão da fotografia amadora, o trabalho profissional de fotógrafo tem um mercado grande, aquecido justamente pelas novas tecnologias digitais.

    São muitas as áreas de trabalho, que podem ir desde cobertura de eventos como casamentos, formaturas, festas em geral, ao fotojornalismo, trabalhando para meios de comunicação.

    O fotógrafo pode trabalhar também com moda, fazendo portfólios de modelos, catálogos de moda e ensaios para revistas.

Three Years Course Photography - Itália Comentários sobre Three Years Course Photography - Itália
Photography - Major in Photography.
Three years courses - Milan

The course of Photography has as its objective, the formation of a professional who will be capable of working in the fields of visual communications: the photographer in fact, thanks to his design capabilities, creative talents, technical abilities and his particular esthetic sensibilities, must be able to use the photographic image in all of its various aspects in order to communicate in a visual form concepts and complex messages. It is required therefore that the professional photographer be skilled not only technically, but also in semantics and esthetics.

Professional Profile: Artographer, specialist in photographic editing, manager of photographic archives, art buyer, studio manager.

The course is recognized by Italian Ministry of Education and Research (MIUR) as an Academic Diploma Level I (180CF)

  •     Credits: 180
  •     Start date: October
  •     Language: English


The three year IED course in Photography teaches how to see and communicate through an image, a story, a thought, or an emotion. The necessary skills are sensibility- human and esthetic, good knowledge of humanistic culture and art, and a deep knowledge of the materials, the technology and the processes of photography.

The path of study in Photography is divided into six semesters, for a total period of three years, each one with specific objectives.

The first year is dedicated to the introduction to photography, or better, to the understanding of the basics, with reference to the cultural elements mainly in visual communication, to the instruments and rules which distinguish and characterize a particular project, helping the student to fully understand the principle steps involved in the operative processes. Due to the high value placed on creative and design skills as compared to the techniques used, the cultural background and insights into the dialogue used to understand the art are concentrated in this first year of study.

The second year of the course of Photography concentrates on helping with actual methods and project design: the technical skills and actual experience are combined with the equally important role in terms of time dedicated, to the cultural and project skills required. The student gains knowledge and competence in the specific professional skills needed through a hands-on approach, the study of the technical aspects, different cultural characteristics, with particular emphasis on the evolution of the surroundings, the market, and the language used.

The third year of the course is dedicated to an advanced design project in a professional setting, gaining experience in actual project design themes which the visual communication professional must confront. The thesis project for the course of Photography is both complex and detailed, based on the realization of a project, even as regards only a specific area, but which follows the specific interests of the individual student. It is requested therefore, that the student work on a project, defined by the candidate according to his personal interests in any one particular field of photography.


Early Bird Discount – 2015 Undergraduate Programs Entries

Apply early to IED Istituto Europeo di Design for our Undergraduate programmes and receive a 15% discount from your tuition fee.



This course studies our visual and aesthetic culture by experimenting with contemporary artistic research and how it relates to technical and technological innovation and to the various different forms of expression and communication: from the advent of industrial civilisation in the mid-nineteenth century to the way that everyday life is reshaped in the daily flow of images conveyed by the media, by advertising and by the cinema; from the independent expressive codes generated by the avant-gardes of the early twentieth century to the links of sign and culture in mid-century and on to the very latest expressions of fragmented reality today.
In particular, the course focuses on analysing the birth of aesthetics and the independence of art, how the concept of art changed pursuant to the introduction of industrial machinery, the birth of photography and how it has related to traditional techniques of representation, and the historical and critical developments of the leading artistic movements of the twentieth century, for the purpose of imparting knowledge about contemporary art as a tool for making stylistic interpretations of images.

The history of the arts as applied to the specific field of photography is the content of this course, whose purpose is to impart the skills necessary for recognising expressive languages and how they evolve. The course provides students with a broader view of artistic expression and of the interdisciplinary factors that influence a work’s creation.
Students are provided with an extensive, profound familiarity with Photoshop, both in technical terms and from the standpoint of the working method adopted by the graphic designer who has to be capable of preparing images for printing and for the web. Adobe Illustrator is used to create graphic, illustrative and typographic elements in a vector environment. By the end of this course, students have consolidated their technique and are capable of making a thoroughly professional use of both software programs.

Developing on the skills common to all fundamental teaching of photography, students now acquire the groundwork for practising their chosen profession and using its technologies and equipment. This course aims to define photographers’ role and task, together with the phases of the creative and interpretative process, in the framework of the disciplines that call for their involvement. It focuses both on technical and expressive issues, related to studying the visual impact of images, on designing the lighting and on composing the framing and the shooting.

The educational process described in the section on “objectives” is put into practice by grafting several different approaches onto the material: on the one hand, the course starts out by conducting a critical analysis of the work of leading artists in the field, so as to identify the elements that distinguished their expressive force. On the other hand, adopting a process of constant maieutics, students are induced to question both their own and others’ perceptions, so as to find expressive modules that enable them to construct immediate, effective channels of communication. In parallel with this, a pragmatic approach to the means of expression related to working on the photographic print by hand, using analogical instruments, enables students to put the results of their experimental and expressive experiences into practice.
This course investigates the world of sensory perception and cognitive processes, illustrating the scientific theories that explain how our senses function and correlating this with research into the psychology of form. It tackles principles of colour theory, then uses applied sciences as a means for providing the technique for analysing the relationship between object, space and person, knowledge of crucial importance for designing a work in relation to sensory responses. The psychology of form establishes relations between the mechanism of perception and issues concerned with the use of that form and the consequent elaboration of creative languages.
This course teaches students to read the relations between contents, texts and image and the narrative processes used by the various different forms of visual communications and by the media. The learning method adopted consists of examining the bonds between form and content, aesthetic effects and systems of usage. The aim of the course is to analyse the process of communications, setting out to examine and dismantle its mechanisms, using the methods developed by the various schools of semiotics. A closer look is taken at audiovisual communications, with a special focus on the cinema and advertising communications.


  •     Computer Graphic 2
The learning process started in the first year now adds new technical principles and exercises, developing to enable students to acquire greater mastery of procedures and methodologies in relation to building their own visual and expressive languages and linking them to a variety of thematic and disciplinary areas. Once the first year of the course has laid the necessary foundations of technical knowledge with the potential to thrust further than standard competence, the second year of Photography Direction sets out to furnish students with the abilities and skills specific to the professional realm by developing on this grounding, reviewing it with a special focus on creating animated images, i.e. images that feature the presence of humans in all sorts of different forms. The approach adopted to the subject is now marked by a demand for greater independence of creativity and composition on the part of students, as well as a focus on the degree of their technical awareness of issues related to shooting and lighting. In addition to this, a special section takes a closer look at systems for controlling printing and managing the output of digital files on paper.
Building on the analytical tools taught during the first year, this advanced phase induces students to update their expressive experiences and render them in tangible form, articulating them in the various sectors of specialisation. The process of identifying students’ own styles, their own perception of reality and their personal dynamics of visual communication is now developed, partly by consolidating their overall artistic and personal maturity, as established by the synergies encountered in the learning experience. The course proceeds by contextualising the object-subject of the shoot, so as to provide numerous stimuli for breaking out of the mindset of the merely technical exercise and creating a high degree of participation, both in studio shoots and on location, both in professional work related to still life and in assignments focused on animated photography (fashion and portraiture). At the same time, students are introduced to another similar strain of research, this time focusing on communicating by using expressive techniques and dynamics of moving images: video, video art, ads, micro films, long photos and other variants on the theme of images that do not remain still.
Photography is the everyday narrative of what is going on in the modern world – and this applies in particular to its social, journalistic and scientific applications – but at the same time it also bears witness to how we see reality. This course goes back over the origins and development of these photographic languages, leading students to acquire narrative capacities of their own through the medium of photography.
This course builds on the development of phenomenology as a science or a method that expounds on the relationship between reality and artistic expression, so as to impart tools for interpreting contemporary artistic phenomena and how they relate to historical and cultural contexts and to social dynamics. The teaching method used helps students understand how contemporary forms of creativity come about and are represented and perceived. The course sets out to provide an interpretation of the contemporary visual arts by analysing certain practices, procedures and strategies used to construct an image. It also highlights these practices’ cultural implications in a broad context that takes in many different expressive styles and techniques of contemporary culture, so as to encourage students to develop an analytical and critical capacity.
By studying the processes of the media and analysing up-and-coming forms of communication, this course sets out to provide students with a basic grounding in the theoretical, methodological and technical tools used to analyse the processes of communications and media, focusing on contents, languages, forms of organisation and the analysis of the target audience.
The cinema is investigated as a complex system, in which forms of expression and styles of representation are the result of a new order of cultural organisation and a new way of experiencing the world. This course illustrates the salient milestones in the history of the cinema to the present day, describing it in terms of the relationship between technology and aesthetics. The course starts from films, and not from existing critical historiography, then proceeds to focus in particular on certain milestone films that have pointed the way to subsequent developments and  ontemporary trends. The evolutions in the cinema’s styles, expressions and narratives are put into the context of the technological advances achieved by the means of production and the consequential evolution of movie language.
The history of the arts applied to the specific field of photography is the content of this course, whichaims to provide students with the skills they need to recognise expressive languages and how the y evolve. The course gives them a broader vision of artistic expression and of how interdisciplinarity contributes to executing a work.
This course provides students with the tools they need to understand how photographers interact with the world of communications. The purpose of photography is to convey sensations, lifestyles and concepts that bolster the advertising message, while consolidating and fast-tracking its impact on its audience. This means that photography is treated as the medium that can be used to generate familiarity with the product and the brand being publicised. The course in Advertising Communication imparts the most important theoretical and operational notions that students will use for acquiring a complete understanding of an insider’s view of the dynamics underpinning the preparation and development of an advertising campaign, whatever form and organisation it may be given. In both a series of conventional lectures and the significant accompaniment of simulations of the interaction between the client and the creative photographer, the course teaches students to develop an active – and not only a passive – familiarity with the dynamics of the visual communications involved in conceiving and generating advertising campaigns.


The contents of this course cover the historical construction and the structural and linguistic analysis of the methods of production and distribution of mass communications, the essential characteristics and categories of leading media markets (television, cinema, publishing and multimedia) and the strategic behaviours of the business concerns that operate in the various fields in question. The procedures studied encompass traditional and new media, the press, radio, analogical television, terrestrial digital and satellite television, the various forms of web and mobile TV and potential future scenarios.
This course is designed to complete students’ training, achieving a further enrichment of their technical and design capacities. The professional orientation course features practical exercises in technical and expressive macro areas, tailored to achieve suitable mastery in a specific field of interest. In the third year of the course, students are trained to express their creative and technical skills in a differentiated range of professional sectors. Certain topics and specific areas of specialisation are identified that induce students to measure up to situations with different expressive matrices: topics and fields related to the photography studio and still life, topics and fields related to reportage, topics and fields related to portraiture and topics and fields related to fashion.
  •     Computer Graphic 3

The opportunities offered by new information and communication technologies have led to a convergence of the media, of telecommunications and of information technology itself. This course illustrates this phenomenon’s recent development and studies it in relation to leading industry trends, exploring its applications to audiovisual communications.
This course introduces students to the basic technical skills required for their elaborations, analyses professional openings for the art director and provides a guide to presentation techniques.
Le discipline progettuali del terzo anno impostano dei temi che vengono trattati autonomamente dai singoli docenti, ognuno per il proprio specifico, ma che parallelamente convergono in un laboratorio in cui le specificità vengono ricondotte alla realizzazione di un sistema di comunicazione complesso e articolato, ma allo stesso tempo omogeneo e unitario. Al laboratorio stesso afferiscono, inoltre, contributi di carattere metodologico, culturale, tecnico, specialistico.


Callejas Paula Andrea
Industrial Designer, born in Medellin Colombia.Graduated from the ÒUniversidad Aut?noma de ManizalesÓ (1997) and Master in Design from Domus Academy (1999) where she has been appointed Seminar Assistant for various master courses.Has worked within the Domus Academy Research Center (D.A.R.C.) and collaborated with other studios in Milan (Italform, Mdp, Francesca Valan, Future Concept Lab) participating in different industrial, graphic and research projects, approaching different design fields: C.M.F. and trends, environmental design, playing concepts and toys. Since 2002 she heads the project 100%natural - monitor, dedicated to design, materials, jewellery, trends and crafts.

Casolo Francesco
I was born in Milan in 1974, where I currently live after having studied as well as worked in both Paris and Berlin for several years. I recently wrote, directed and filmed a documentary film called I resilienti (The resilient ones), set in Egypt, which was awarded at the Lampedusa film festival and selected at the Beirut International Film Festival.Since many years, I write for cinema (I collaborated to the screenwriting of a movie called, Cutting the grey parts, Golden Leopard at Locarno Film Festival for the best first feature, and I was awarded for an original script, Gli altri due), publishers (I work as editor and ghost writer for RCS-Rizzoli Media group) and magazines (I’ve been correspondant from Berlin and Paris for some Italian tourist magazines). Since 2006, I also work as visiting Professor c/o Istituto Europeo di Design (IED).

Gelpi Andrea
Andrea Gelpi earned a Ph.D. in Sociology of Communication from Catholic University Milan. Worked as teaching assistant in the subject of  intercultural communication and history of the radio and television. Worked as a free-lance qualitative researcher for several university research institutes on the subject of media, technology and communication. Currently working as a director of qualitative research in market research.  

Andretta Giuseppe
I love photography since I was 12. My career began in the late 80's as a film developer and darkroom printer. I experienced a brief period as an assistant still-life photographer in 1991 and then I started my own business as a freelance.In 1996 I co-founded a digital printing service, specialized in large format inkjet prints and fine art prints. In those 8 years I started learning digital printing techniques, ICC profiles management and Photoshop retouching.Since 2004 I am an independent consultant specialized in digital photography and digital color management. I am an Adobe Certified Instructor in Photoshop CS5 and a testimonial for X-Rite Pantone and Wacom. I taught for five years in a couple of technical institutes for photography and graphic arts. In the last 8 years my main business is to provide professional training courses and consultancies on Adobe softwares together with color management services and fine art printing.

Bianca Salvo
Bianca Salvo is an Italian visual artist mainly working with photography. Her work born as a response to her intimate attraction for mutability, as well, it investigates imagined dimensions in which human being and its finitude are usually the main protagonists. Interested in the hybridism of the media she used to combine the still photographic image with organic materials, digital manipulations, or archival illustrations, giving birth, in her work, to new and altered forms of being. She is interested in analysing from different angles and perspectives our progressive movement towards annihilation from one side, and the glimmer of eternal endurance and civilization on the other.Her visual research questions the experience of human life and its transience, the inescapable passage of time and the contingency of our nature. The dialogue between preservation and destruction of existent realities constitutes the core of her work.

Bricchi Matteo
Photographer and Photoshop expert, born in Milan.Interested in digital technology since young age, developed his Passion for Photography and Photo Retouching really early.Graduated at Accademia dello spettacolo in Milan, Adode Certified Expert in Photoshop. Been always fascinated and passionated about digital image workflow worked as a Photo Retoucher and a consultant in Turin and Milan.His career is equally divided in being a Food and Still Life Photographer, a Photo Retoucher and a Teacher, both for beginners courses and professional Workshops.

Colla Gianluca
Gianluca Colla was born in Reggio Emilia, Italy in 1976. After attending high school he studied at the Civil Engineering & Architecture Faculties in Bologna. Following work experience in various fields, his love for travelling and passion for photography soon lead him to combine these interests to become his profession.An in depth knowledge of photography, in particular in the digital sector, has led him to work in many different areas, including collaborations with National Geographic, Blockbuster, World Gold Council, Wind, United Bank of Swiss, Toyota, Saatchi & Saatchi and The Blue Zones. These collaborations allow him to travel to many diverse destinations around the world, from the Arctic Polar Circle to Africa's deserts, from the Far East to the Amazon.Gianluca's photographs have appeared in various publications, including National Geographic Magazine, NG Travel Magazine, Newsweek and CondéNaste.Since 2004 he has been a member and photographer of "The Quest Network", a team of explorers and scientists who have come together for the love of exploration, scientific popularization and the use of modern technology to create online interactive expeditions. He is also a member of NAPP (National Association of Photoshop Professionals), holds seminars and teaches digital photography courses such as the Toscana Photographic Workshop and the Canon Academy.When not on assignment Gianluca lives between Italy and Switzerland.

De Grossi Piero
I’ve been a Professional Photographer since 1986. I’ve studied Photography at the Parson’s School of Photography (The New School of Visual Arts), New York City, in 1984 and at Skidmore College, Saratoga Springs NY, in 1985. At the end of the courses I did a Volunteer Internship at The Metropolitan Museum of Art, in New York City, to learn how to photograph works of art in a Phtographic Studio. I then specialized in Studio Photography for advertising, fotographing both commercial and design objects, jewelry and luxury goods, but also architecture and urban landscapes. In 1999 I started photographing Luxury and Retail shops in most of Europe and the United States for major brands as “BVLGARI” and “Giorgio Armani” . I was born in Rome, Italy 49 years ago.

Formisano Nero Marco
I was born in Livorno, class of 66, and yes, I am a scorpio! After a bit I moved to the Ligurian Riviera where I graduated in Arts, than I studied Photography in Milan at university-like C.F. Bauer. I have honoured for nine years in Paris, New York and Miami, photographers such as Mario Sorrenti, Tiziano Magni, Lothar Schmid, Robert Erdmann, of my assistance.Indeed I started to take all seriously , now my clients are Arena, Piaggio, Pirelli, Ferrero, Mc Donald’s, Swatch, Sony, Rum Pampero, LG, Corriere della Sera, Terranova , Lumberjack, Decathlon, Henkel, Moby Lines, Bayer, Unilever…I have worked on 8 by 10, 4 by 5, medium and 35 ... now I almost shoot all my jobs in digital, following the post production process as I did with the darkroom years ago.

Leone Federico
Federico Leone was born in 1974.His passion for photography developed when he was a child, following the footsteps of his grandfather, a darkroom photographer.He moved to Milan, aged 20, to improve his technical knowledge and started to work with various photographers as an assistant.Since 1998, he has worked freelance in the fields of fashion, advertising, portraits and publishing, photographing for publishers such as Condé Nast, Hachette, Rusconi, Mondadori, Cairo, Logos, for Italian, Spanish, German, French, Russian, Korean, Chineseand Japanese clients.Between 2000 and 2007 he stayed mostly in Japan, working with magazines such as Vogue Japon, Elle Japon, Miss, Brutus, 25ans, More, Graceful Wedding and Men’s Ex.In the latest two years he is devoting full-time to develop his business into kid’s fashion field which is his new passion.His latest work is the Gucci Kids world catalogue.Federico Leone is represented in Italy by the photographers agency LIVELLO6.


Activities in the Computer Labs allow the students to acquire both theoretical knowledge and practical skills necessary for the completion of each course. The Computer are equipped with OSX and Windows operating system, projector, printer, scanner and graphic pens. All the necessary software needed to develop projects and prepare for exams are already installed. Common areas located within the premises are equipped with WIFI connection.
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