Table of Contents

Examinable Learning Objectives and Cognitive Level of Knowledge
Learning objectives support business outcomes and are used to create the Certified Photographer Foundation Level exams. In general, all contents of chapters 1-6 of this syllabus are examinable at a K1 level. That is, the candidate may be asked to recognize, remember, or recall a keyword or concept mentioned in any of the six chapters. The specific learning objectives levels are shown at the beginning of each chapter and are classified as follows:

• K1: Remember – Recall basic concepts and terminology relevant to photography.
• K2: Understand – Comprehend the meaning of core photography techniques and concepts.
• K3: Apply – Apply knowledge to real-life photographic situations, such as shoot setups and editing processes.

Further details and examples of learning objectives are given in Appendix A. All terms listed as keywords just below chapter headings shall be remembered (K1), even if not explicitly mentioned in the learning objectives.

The Foundation Level Certificate Exam
The Foundation Level Certificate Exam is based on this syllabus. Answers to exam questions may require the use of material based on more than one section of this syllabus. All sections of the syllabus are examinable, except for the Introduction and Appendices.

Standards and books are included as references (Chapter 7), but their content is not examinable beyond what is summarized in the syllabus itself from such standards and books.

Refer to the documents “Exam Structures and Rules” and “Exam Structure Tables” for further details.

Accreditation
An IPQB® Member Board may accredit training providers whose course material follows this syllabus.

Training providers should obtain accreditation guidelines from the Member Board or body that performs the accreditation. An accredited course is recognized as conforming to this syllabus and is allowed to have an IPQB® exam as part of the course.

The accreditation guidelines for this syllabus follow the general Accreditation Guidelines published by the Processes Management and Compliance Working Group.

Handling of Standards
There are standards referenced in the Foundation Syllabus (e.g., ISO or other relevant photography standards). These references provide a framework (such as references to ISO standards on image quality or composition) or serve as a source of additional information if desired by the reader. The standards documents are not intended for examination.

Refer to Chapter 7 for more information on standards.

Staying Current
The photography industry evolves rapidly. To keep up with these changes and provide stakeholders with access to relevant and current information, the IPQB® working groups have created links on the www.ipqb.org website, which refer to supporting documentation and updates to standards. This information is not examinable under the Foundation syllabus.

Level of Detail
The level of detail in this syllabus allows for internationally consistent courses and exams. To achieve this goal, the syllabus consists of:

• General instructional objectives describing the intention of the Foundation Level in Photography.
• A list of terms (keywords) that students must be able to recall related to key photography concepts, techniques, and tools.
• Learning objectives for each knowledge area, describing the cognitive learning outcomes to be achieved, such as understanding lighting, composition, and exposure settings.
• A description of the key concepts, including references to recognized photography sources and industry standards.

The syllabus content is not a description of the entire knowledge area of photography; it reflects the level of detail to be covered in Foundation Level training courses. It focuses on core photography concepts and techniques that can be applied to all photography projects, independent of the style or subject matter.

How this Syllabus is Organized
There are six chapters with examinable content. The top-level heading for each chapter specifies the training time for the chapter. Timing is not provided below the chapter level. For accredited training courses, the syllabus requires a minimum of 1135 minutes (18 hours and 55 minutes) of instruction, distributed across the six chapters as follows:

• Chapter 1: Fundamentals of Photography (180 minutes)
  • The student learns the basic principles related to photography, including exposure, lighting, and composition.
  • The student understands the key elements of a photography setup and the equipment used.
  • The student understands the essential skills for capturing high-quality images.
• Chapter 2: Photography Throughout the Creative Process (130 minutes)
  • The student learns how photography fits into different creative and professional environments, such as advertising, media, and artistic photography.
  • The student learns about the concepts of photo storytelling, framing, and effective use of visual elements.
  • The student learns about different photography styles and how they are applied to various subjects.
• Chapter 3: Lighting and Composition Basics (80 minutes)
  • The student learns the basics of lighting setups and how they impact photographic quality and mood.
  • The student learns the principles of visual composition, including the rule of thirds, leading lines, and perspective.
• Chapter 4: Camera Techniques and Post-Processing (390 minutes)
  • The student learns how to apply different camera settings (aperture, shutter speed, ISO) to control exposure and achieve desired effects.
  • The student learns how to compose and shoot professional-level photos across different genres, including portrait, landscape, and product photography.
  • The student learns how to use post-processing software to enhance images and correct issues like exposure, color, and sharpness.
• Chapter 5: Managing Photography Projects (335 minutes)
  • The student learns how to plan and schedule photo shoots, including managing locations, lighting, and models.
  • The student learns how to assess the risks and requirements for a photography project, such as budget, deadlines, and permissions.
  • The student learns how to manage the delivery of images and work with clients, including reporting on progress and quality.
  • The student learns how to effectively communicate the vision of a photo project and collaborate with teams.
• Chapter 6: Photography Tools and Technologies (20 minutes)
  • The student learns to classify and evaluate photography equipment, from cameras to lenses and lighting setups.
  • The student understands the risks and benefits of using specialized photography technologies, such as drones and advanced editing tools.

Fundamentals of Photography – 180 minutes
Keywords
exposure, composition, lighting, aperture, shutter speed, ISO, depth of field, focus, framing, white balance, image quality, color correction, subject, angle, perspective, portrait, landscape, rule of thirds, lighting setups, mood, technique, creative vision, editing, retouching, photography software

Learning Objectives for Chapter 1:
1.1 What is Photography?

• FL-1.1.1 (K1) Identify typical objectives in photography, such as composition and lighting.
• FL-1.1.2 (K2) Differentiate between photography and basic image editing (e.g., retouching vs. creative direction).

1.2 Why is Photography Necessary?

• FL-1.2.1 (K2) Exemplify why photography is an essential tool for communication and creative expression.
• FL-1.2.2 (K1) Recall the relationship between photography and quality assurance in visual media.
• FL-1.2.3 (K2) Distinguish between creative vision, technical quality, and artistic failure in photography.

1.3 Photography Principles

• FL-1.3.1 (K2) Explain the seven fundamental principles of photography, such as exposure triangle, lighting, and composition.

1.4 Photography Activities, Equipment, and Roles

• FL-1.4.1 (K2) Explain the different types of photography activities (e.g., shoot planning, post-processing) and the tasks associated with each.
• FL-1.4.2 (K2) Explain the impact of context (e.g., genre, location) on the photographic process.
• FL-1.4.3 (K2) Differentiate between various equipment used in photography (cameras, lenses, lighting gear).
• FL-1.4.4 (K2) Explain the value of maintaining traceability of edits and final images throughout a project.
• FL-1.4.5 (K2) Compare the different roles in a photography project, including photographer, editor, art director, and client.

1.5 Essential Skills and Best Practices in Photography

• FL-1.5.1 (K2) Give examples of the essential skills required for different types of photography (e.g., portrait, product, landscape).
• FL-1.5.2 (K1) Recall the advantages of using a whole-team approach in professional shoots (e.g., collaboration with stylists and lighting experts).
• FL-1.5.3 (K2) Distinguish the benefits and drawbacks of maintaining artistic independence versus collaborating with a client or team.

1.1 What is Photography?
Photography is an essential part of the visual storytelling and creative industries. Many people have encountered photographs that did not meet their expectations, whether in terms of composition, exposure, or lighting. Photographs that do not meet the required standards can result in issues such as a loss of impact, poor communication of the subject matter, or a negative reception of the final image. Photography helps assess visual quality and reduce the risk of disappointing clients, audiences, or stakeholders.

Photography is a set of activities to capture, evaluate, and enhance images. These images, when being captured or processed, are known as subjects or photographs. A common misconception about photography is that it only involves taking photos (i.e., pressing the shutter button and reviewing the results). However, photography also involves other activities, such as composition, lighting adjustment, and post-production, and it must be aligned with the overall creative process (see Chapter 2).

Another misconception about photography is that it solely focuses on capturing images. While capturing an image (the verification process) is central to photography, it also includes evaluating whether the image meets the desired validation criteria—such as composition and lighting that engage the viewer and express the intended message.

Photography can be dynamic or static. Dynamic photography involves capturing moving subjects or altering exposure settings in real-time, while static photography involves subjects that do not move, or using controlled light and setup for still life. Static photography includes activities such as reviewing and editing photographs to enhance their quality (see Chapter 3). Dynamic photography utilizes various techniques and approaches to create compelling visuals (see Chapter 4).

Photography is not only a creative activity—it also needs to be properly planned, managed, estimated, monitored, and controlled (see Chapter 5). Photographers often use tools such as cameras, lenses, and software (see Chapter 6), but it’s important to remember that photography is primarily an intellectual activity, requiring specialized knowledge, analytical skills, and an understanding of visual systems (e.g., focusing, exposure, framing).

The ISO 12232:2006 and other photography standards provide additional information about techniques and visual quality in photography.

1.1.1 Photography Objectives
The typical objectives in photography are:

• Evaluating visual work products such as compositions, raw images, lighting setups, and final edited images.
• Causing artistic failures and identifying flaws such as poor exposure, composition, or focus.
• Ensuring the required coverage of a subject or scene, highlighting essential details and elements.
• Reducing the risk level of poor-quality images, ensuring the photos meet client and audience expectations.
• Verifying whether the specified photographic requirements, such as shot list or artistic vision, have been fulfilled.
• Ensuring that the images meet relevant standards and comply with legal, regulatory, and contractual requirements (e.g., copyright, model release).
• Providing stakeholders (clients, editors, or the creative team) with information to allow them to make informed decisions about the images.
• Building confidence in the overall quality of the photography and editing process.
• Validating whether the images are complete and meet the expectations of the stakeholders (e.g., lighting, framing, focus, mood).

Photography objectives can vary depending upon context, which includes the type of subject or scene, the photography style or genre, equipment used, creative risks, deadlines, the collaborative team structure, and business considerations, such as client demands or time constraints.

1.1.2 Photography and Post-Processing
Photography and post-processing are separate activities. Photography can reveal issues such as poor exposure, focus errors, or composition flaws (capturing the image in a dynamic way), while post-processing directly addresses defects in the image quality, such as color correction, sharpness adjustments, and enhancing details.

When dynamic photography (capturing images) reveals a flaw, post-processing is concerned with fixing the visual issues in the photo, analyzing the flaws, and correcting them. The typical post-processing process in this case involves:

• Reproduction of the original photo
• Diagnosis (identifying the flaw, such as overexposure or poor contrast)
• Fixing the flaw (adjusting exposure, color balance, crop, etc.)

Subsequent review and retouching may confirm whether the issues are resolved. Ideally, the same photographer or editor should carry out the post-processing to maintain consistency in the editing style. A re-shoot may also be required if the fixes are inadequate, in order to ensure the photo meets quality standards.

When static photography identifies issues during the editing phase, post-processing focuses on directly removing those flaws—there is no need to re-shoot or retake the photo, as the process fixes the images without causing re-creation failures (static work cannot produce new visual issues like dynamic captures might).

1.2 Why is Photography Necessary?
Photography, as a form of visual communication, helps achieve the agreed-upon artistic or commercial objectives within the set scope, time, quality, and budget constraints. A photographer’s contribution to a project should not be confined solely to the moments of capturing images; the entire creative process, from pre-production to post-production, plays a role in the project’s success.

Photographing subjects, settings, and associated elements (such as props, lighting setups, and backgrounds) helps identify visual flaws, composition issues, or gaps in the overall aesthetic. Additionally, effective use of editing software allows for the correction or enhancement of images to meet desired outcomes. By applying technical and creative skills, photographers ensure that the images align with the stakeholder’s expectations, whether for commercial, editorial, or personal purposes.

1.2.1 Photography’s Contributions to Success
Photography provides a cost-effective means of visually assessing the quality of a concept, subject, or creative project. Issues such as improper lighting, poor composition, or technical errors in framing can be identified and corrected, which indirectly contributes to higher quality photographic work.

Photography provides a direct evaluation of the visual quality at various stages of the creative process, including pre-production (planning), production (shooting), and post-production (editing). These evaluations are essential components of the overall project management, influencing decisions such as whether to proceed to the next phase in a campaign, or whether to release a final image or portfolio.

Photographers offer an indirect representation of the client’s or audience’s needs by ensuring their understanding of the subject’s essence, tone, and intent. They act as a bridge, ensuring the visuals align with the stakeholders’ expectations, even when it’s not possible to involve all target audience members in the actual process due to constraints (like budget or availability). Photography may also be required for commercial purposes to meet contractual obligations or comply with industry standards (e.g., advertising specifications or legal usage).

1.2.2 Photography and Quality Assurance (QA)
While the terms “photography” and “quality assurance” (QA) are often used interchangeably in creative industries, photography and QA are not the same.

Photography is a product-oriented, corrective approach that focuses on creating high-quality visual outputs. Photographers directly contribute to quality by capturing, editing, and adjusting their images to meet the desired artistic or technical standards. Photography is a primary form of visual quality control, whereas other forms might include concept testing or revisions based on feedback from stakeholders.

QA, on the other hand, is a process-oriented, preventive approach. It focuses on establishing and improving the processes that ensure the quality of the final product. In photography, QA applies to the workflow followed by the photographer, as well as the practices within a studio, or throughout any collaborative or production environment. QA involves ensuring that the processes — from equipment maintenance to image processing — are followed correctly, aiming to prevent errors and inefficiencies that could compromise the final result.

Test results in photography can be used for both photography improvement and quality assurance. For example, feedback or visual tests from a shoot might help the photographer fix compositional, lighting, or technical flaws. Meanwhile, in QA, those results can provide insights into the effectiveness of processes, such as equipment calibration, post-production workflows, or client interactions.

1.2.3 Errors, Defects, Failures, and Root Causes in Photography

In photography, errors can occur in several stages, such as while composing the shot, handling equipment, or during post-processing. These errors often result in defects (issues with the image), which may lead to failures (the image not meeting the intended outcome). Errors in photography can stem from various factors, such as:

• Time pressure, where a photographer may rush shots or overlook details due to deadlines.
• Complexity of equipment (e.g., camera settings, lighting setup, or software), which can lead to confusion or mishandling.
• Environmental conditions, such as poor lighting or incorrect settings for specific scenes (e.g., exposure in low light).
• Tiredness or lack of experience, leading to poor choices or oversight.

These defects in the creative or technical aspects (such as color inaccuracies, focus issues, or improper framing) can result in photographic failures where the image does not meet the expectations or vision, whether in terms of technical precision or artistic intent.

Some errors always result in failure, such as setting the wrong white balance that causes a consistent color cast. Others may only cause issues in specific contexts, for example, noise appearing in low-light images or blurry shots when the shutter speed is too slow for handheld shooting.

Additionally, failures in photography can sometimes be caused by factors outside the photographer’s control, such as environmental issues affecting equipment or technology failures (e.g., malfunctioning software during editing).

A root cause in photography can refer to the underlying reason for an issue. For example, a consistently blurry photo could result from incorrect lens settings or uncalibrated autofocus. Root cause analysis in photography often involves identifying what led to the problem (e.g., mishandling the equipment or insufficient training), which can help the photographer prevent similar issues in future shoots by addressing and fixing the source of the problem.

1.3. Key Principles in Photography

1. Quality is identified, not guaranteed.
   In photography, you can identify quality issues like blurriness or incorrect exposure during the review process, but you can never guarantee that a photo is flawless just by checking for problems. Even if a photo seems fine at first glance, there could be subtle issues such as distortion or color imbalance that aren’t immediately noticeable.
2. Capturing every angle is unrealistic.
   You cannot possibly capture every possible composition or condition for every photo shoot. Instead of trying to photograph everything, focus on prioritizing key aspects such as important angles, lighting setups, or focal points that will bring out the best qualities of a scene or subject.
3. Reviewing early saves time and effort.
   By reviewing photos during the shoot or right after taking them, you can catch issues early—such as overexposure, underexposure, or incorrect focus. Making adjustments in real time prevents a large amount of rework during editing, making the overall process more efficient.
4. Flaws tend to group together.
   Certain mistakes, like inconsistent lighting or blurry images, often happen repeatedly in a shoot. Identifying patterns in these flaws helps direct improvements toward specific areas, such as adjusting your setup or fine-tuning your equipment, to avoid repeated issues in future images.
5. Repetition leads to diminishing returns.
   If you shoot the same scene or subject repeatedly in exactly the same conditions, you may stop noticing potential improvements over time. It’s important to change things up—whether it’s adjusting your perspective, experimenting with lighting, or using different lenses to uncover fresh opportunities and elevate the final photos.
6. Every photo shoot is unique.
   The approach to capturing and reviewing photos changes depending on the situation. A commercial shoot for a product might need to follow strict technical standards, while a spontaneous street photography session might be more flexible with regard to rules. Different contexts require varied creative and technical approaches to achieve the best results.
7. Perfection doesn’t guarantee success.
   A technically perfect image—one with perfect focus, exposure, and composition—doesn’t always succeed in connecting with viewers or fulfilling the intended purpose of the shoot. It’s just as important for a photograph to engage emotions or communicate an idea, not just to meet the mechanical aspects of photography.