Narrative Itinerary
â’¸ Maria Munzi
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Enrolment process

1. Complete the enrolment form:

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2. Select desired payment method:

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Full payment by credit card


By selecting this method, the payment process will redirect to our Banks website. Your bank details will not be kept by Grisart Fotografía S.L but sent directly to our bank under secure protocols (HTTPS). Your account will be charged immediately.

Full payment via bank transfer


When selecting this payment, you must pay the total amount of the course via bank transfer or deposit in the account of Grisart Escuela Internacional de Fotografía:

Banco Sabadell (Oficina 0181 - C/ Ronda Sant Pere, 56 · 08010 Barcelona)
IBAN: ES12 0081 0181 1400 0143 6846

You must send the proof of payment to Your reservation will not be effective until the arrival of funds to our account has been verified.

It is important to indicate your full name (or that of the person who will be taking the course) in the sender field of the transfer information.

Payment in instalments with surcharge, initial payment by credit card


Payment will be made in 7 instalments:

  • Initial payment of 950€ by credit card.
    By selecting this method, the payment process will redirect to our banks website, your bank details are not retained by Grisart Fotografia S.L but are sent directly to the bank operator under secure protocols (HTTPS).
    Your account will be charged immediately.
  • Second payment of 3500€, will be made by direct debit 30 days before the start date of the course.
  • The remaining 5 instalments of 550€ will be made by direct debit at the beginning of october, november, december, january and february.

Bank Authorization (Necessary Information):
Bank details for direct debit:
Account Number / IBAN
Account Holder

Note: Once the course has started, any student who decides not to continue the classes must continue to pay the full amount of the course.

Payment in instalments with surcharge, initial payment by bank transfer


Payment will be made in 7 instalments:

  • Initial payment via bank transfer of 950€ as reservation must be made to the account of Grisart Escuela Internacional de Fotografía:
    Banco Sabadell (Oficina 0181 - C/ Ronda Sant Pere, 56 · 08010 Barcelona)
    IBAN: ES12 0081 0181 1400 0143 6846
  • Second payment of 3500€, will be made by direct debit 30 days before the start date of the course.
  • The remaining 5 instalments of 550€ will be made by direct debit at the beginning of october, november, december, january and february.

Bank Authorization (Necessary Information):
Bank details for direct debit:
Account Number / IBAN
Account Holder

Note: Once the course has started, any student who decides not to continue the classes must continue to pay the full amount of the course.

Financed payment with Banc Sabadell

Grisart Escuela Internacional de Fotografía, in collaboration with Banc Sabadell, offers the possibility of financing your studies.


Download the PDF containing information about the finance option.

Ask for more information at:
Banco Sabadell
Oficina 0181 - Ronda Sant Pere, 56
08010 Barcelona
Contact: Sr. Angel Bielsa
Tel.: +34 - Ext.17306

3. More Information:

 In case of not being a Grisart student, you must:

  • CV (attaching any document that proves knowledge of photography).
  • Portfolio (minimum 20 JPEG images with a maximum of 2,000 pixels on the longest side, including a brief explanation on the project or theme, if case there is a common subject that links the images between them).
  • Letter of motivation

Cancellation policies:
The user will have a maximum period of up to 14 days to withdraw from the contract, in accordance with the article 71.1 of Law 1/2007. For this purpose, it is reported that for the exercise of this right, the user must communicate his/her willing to withdraw the contract by formalizing the document of cancellation of the enrollment (that can be downloaded from this link), which expressly indicates the contractors, the people, the place where it has to be addressed. The abandonment within the term of 14 days, will involve the reimbursement of all the registration fees that have been paid. After this period, the user may not desist or be entitled to any compensation or refund of any amount due to this withdrawal.

By submitting this registration form, you declare that you have read and accepted the Grisart’s Legal notice, cancellation policy and disclaimer.

I have read and accept the rules, cancellation policies and disclaimer of Grisart


Finalidad: Atender la solicitud de información por parte del usuario.
Legitimación: Consentimiento del interesado
Destinatarios: No se cederán datos a terceros, salvo obligación legal.
Derechos: Acceder, rectificar y suprimir datos, así como otros derechos, tal y como se explica en la información adicional.
Información adicional: Puede consultar la información adicional y detallada sobre protección de datos a través del siguiente enlace


The storytelling power of image spans a wide area, ranging from the classic photojournalism to the recreation of reality in elaborate fictions that are embodied in books, exhibitions and Internet projections.

To be able to tell stories with an image, it is necessary an absolute control of the imagery medium (photography, multimedia, etc), and its diverse techniques and languages. The mastery of image semantics (what to tell) and visual syntax (how to tell it) enable us to take the final step, the promotion of works via the many mediums that utilise the image.

At Grisart we have developed the Complete Program of Narrative Image to help professionals master their special sensibility and sharp their images’ voice. It consists of six interrelated lines of study: Documentary and Photojournalism, Project Creation, Multimedia Projects, Photobook self-edition, Management and Business Legislation, and Cultural planning and intervention program.

The combination of the image related subjects with others subjects related to management and the promotion of work, give the our students a solid education and the necessary security to enter the professional world.

Alternative combinations of lines of study available (Hybrid Itineraries). Ask for more information at

The students will be given the opportunity to choose the language in which they will attend this course: either English or Spanish. Most of the activities extra classes (guided visits to exhibitions and conferences) will be in Spanish.


To communicate, excite, surprise and synthesize: these are the challenges to photographers committed to communicate, independently of the media (press, specialized journals, archives, editorials…) or the support (paper, video, television or Internet) they use to publish their work.

With this Documentary Photography and Photojournalism Program, Grisart enables the acquisition of theoretical, expressive, editing, critical and historical knowledge necessary to develop, with total solvency, this powerful communication tool.

In addition to focusing on such fundamental aspects as the photographic essay and news photography, the course also explores specific genres (travel, anthropological, social and conflict, as well as sports or nature reportage).

Increasingly, within that field, professionals must be specialists capable of reinventing and adapting themselves to the new technologies if they do not want to be marginalized in a continuously evolving profession. To avoid this he or she must
consider the following:

  • The photographic still image is no longer the only used graphic resource. The new photographer must master and take advantage of video, which any current camera already incorporates in its design. That implies the control of its narrative codes and its technical possibilities.
  • Traditional cameras are no longer the only tools capable of providing good results. Electronic devices like cell phones may be suitable means to solve things in concrete situations. The captured image can be complemented with further processing and automated digital treatments.
  • Photographers must control the quality of their images and manipulate them in order to enhance their eloquence. To be able to achieve that, they must acquire those digital processing skills that will allow them to operate within the field in a diligent manner, also offering them the chance to distribute their work widely.
  • Photographers must be aware of the radical and continuous changes that take place in the field of communication in order to consider globalization and social networks as an opportunity to spread their work.


Photojournalism Concept

  • Types and Classifications
  • Spreading Channels
  • Ethics and Politics

Technical resources and Photographic Language

  • Elements of the Photographic Language and its narrative possibilities
  • Theory and practice of Photo Editing
  • The Use of Flash in Reportage

History and the Present

  • History of Photojournalism: Relationship between Its Technical and Stylistic Evolution
  • Current Styles and Trends

The Professional Context

  • Photojournalism Agencies, News and Archives
  • Associations. Copyright
  • Methodology and Working Criteria in the Media
  • The Photographer Working for a Specific Media and the Freelancer
  • The Impact of New Technologies in the Media
  • Promotional Strategies for One’s Own Work

The Genres

  • Travel Reportage
  • Anthropological Reportage
  • Social and Conflict Reportage
  • Sports Reportage
  • Nature Reportage
  • The Journalistic Portrait

Supervising Student’s Work

Continuously and all throughout the course, the instructor supervises the work of students and encourage group discussions. The following are the individual projects expected to be completed in the course:

  • Various kinds of shooting exercises (from covering a story to developing little reports based on the subjects treated in the course) planned as assignments for print media.
  • Development of an in depth photo news report: documentation, shooting, analysis and editing.



The Project Creation Program is designed to increase and stimulate the artistic potential of demanding students, eager to explore to the maximum of their creativity.

In order to prepare the stages of conceptualization, documentation, production and distribution of the work, each student is going to choose a creative project to develop throughout the course that will be supervised by the teacher and enriched by the critical opinion of the rest of the group.

Its progress —based on the work itself, as well as evaluation and supervision— will be reinforced with arranged visits to cultural foundations and art centers, will help expand the horizons of creativity.

This program is essential for all those students that feel that image is a means of artistic expression, as well as for those that have chosen to develop their artistic creativity in other areas, but are aware of the importance of having a critical view and creating a coherent body of work with its own character.

After finishing the course, the school invests its efforts in order to give an echo to the best projects of the students in galleries and national and international festivals of photography, such as Les Rencontres d’Arles, a worldwide know festival in which the school has a stand with these purposes. 



Photography and Artistic Creativity

  • Concept of Creativity, Originality and Authorship. Co-Authorship and Derivative Work. Principles and Attitudes to Foster Creativity. Technical and Conceptual Creativity.
  • The Status of Photography as Art. Historical Tour
  • Photography as Contemporary Art. Three Fundamental Essays
  • Boundaries Between Art and Documentary. Fusion of Genres and the New Documentary
  • The Relationship with Other Fields in the context of Creation: Literature, Painting, Music and Cinema

The Photographic Project

  • The Workflow of a Photographic Project
  • Creative Process in Photography. The Four Basic Typologies
  • The File as Source of Our Photographic Project
  • New Media for Artistic Production: the Use of Mobile Technologies, computers, Internet, Videogames, GPS, etc.
  • The Realization of a Photographic Project. Types of Work. From the Photographic Print to the Mobile Apps
  • Making an Artist Portfolio and Documenting the Project
  • Personal Supervision of the Development of the Student’s Project, from the Conceptualization and Research Stage to the Definition, Realization, Editing, Presentation/Defense and Promotion of the Project

Contemporary Photography

  • The Photograph in the Contemporary Art Context. The Top Ten Trends
  • Photography and Identity. Successes and Failures in Representing Identity
  • Photography, Time and Memory. Photography as Witness to the Passage of Time
  • Photography and the Document. The Photographer/Anthropologist. Photography and the Journal. The Photographer as Subject
  • Photography and the City. The Many Cities and Their Representation
  • Photography and Nature. Beyond the Landscape
  • Photography and Fiction. Creating Parallel Universes
  • Photography and Conceptualization. The Photographic Medium as Subject Itself and as a Tool of Thought

Career Opportunities

  • The Artist Photographer
  • The Curator, Criticism and the Work in Galleries and Art Centers
  • Photography in the Publishing Context. The Desktop Publishing of Photo Books

The Promotion of the Work

  • The Art Market. Structure and Operation
  • Incentives for Creativity. Festivals, Grants, Awards, Contests and Artist Residencies
  • Exhibition Spaces. Public and Private Art Centers
  • Presence on the Internet and Social Networks. Blogs and Dedicated Journals
  • Patronage of Art Projects
  • Strategies for Promoting the Work



The vertigo of technological innovation brings challenges and solutions to demanding photographers. It allows them to communicate with increased creativity, but requires them to be constantly learning to keep up with it.

4K video, which is already incorporated in the news cameras, is the key to develop a new expressive tool fully implemented in the documentary, advertising, fashion and, in general, photographic context.

Even though photographer’s sensibility and knowledge remain indispensable in the creation of images, the new audiovisual language requires mastery of its narrative codes and its related technology.

The Video Course for Photographers takes advantage of the characteristics of today’s photographic camera (lightness, interchangeable lenses, small size, readiness…) to propose exploring new means in an era of constant change.

All along the training process, students will learn the process of non-linear editing with what is currently one of the accepted best software around, Adobe Premiere Pro. With it, they will be able to develop their final project, which will encompass photography, video, text and audio.


  • Size of an Audiovisual Production and the Human Team Involved
  • Photo-Chemical Film, Digital Film, Video, HD and 4K
  • HD DSLR Photographic Cameras/ 4K Mirrorless Cameras and Their Correct Configuration to Shoot in Video
  • Shooting Accessory
  • Sensors. Video and Audio Encoders/Decoders. Aspect Ratio and Resolution
  • Image Analysis Software
  • Lighting for Film and Video
  • Audio. Microphone Equipment and Sound Recording. Specific Software
  • Introduction to Color Correction
  • Image Analysis Software. Lighting for Film and Video
  • Film Language. The Semiotics of Cinema
  • Adobe Premiere Pro: the Handling of Its User Interface
  • Import and Transfer
  • Render and Export
  • Basic Editing: Clips and Sequences
  • Advance Editing: Motion, Audio, Titles, Transitions, Effects, Color Correction and Render
  • Internet Uploading



For the same reason that, in the last decades, the world of art has invaded the photographic environment, the photographic image has found today an excellent place of distribution and sales in the venues exclusively reserved until now to the fine arts.

All training in the line of Narrative Photography widens when the student knows the rules and operation of the cultural institutions with which he or she will get in contact in the future.


  • The Museums, the Art Galleries and the Foundations
  • Contacts with Curators, Gallery and Institution Directors
  • Exhibition Criteria. Adapting Work to the Venue
  • The Physical Dimension and Presentation of a Photographic Work
  • Full Follow-Up of the Exhibition Process in an Institution



The general criteria for evaluation takes into account: the weekly practices, attendance and class participation, exam each module and the final project.


12 months. 546 hours.

Grisart estimates that the Narrative Itinerary supposes a commitment of time equivalent to 1092 hours.


Those interested in this course can be accessed with an average level of photography and after an entrance exam.

  • Camera with manual settings
  • External hard drive (at least 1 TB)



Starting Date: September 28th, 2020.

Final Date: September 20th, 2021.

Final works deadline: September 6th, 2021.

*During the months of July and August, the students will have the facilities of the school to finish developing their final projects.


  • Tuesday: 1 class from 12:00h to 15:00h.
  • Wednesday from 12:00h to 15:00h.
  • Thursday from 12:00h to 15:00h + 6 classes from 9:00h to 12:00h. 
  • Friday from 12:00h to 15:00h + 7 classes from 9:00h to 12:00h.

Tuition Fees: 6,900 €

Register here

Methods of Payment: Online payment on our website, deposit into bank account or bank transfer.

  • Option A: A single payment
  • Option B: Installments with charge:
    • 950 € enrollment reservation
    • 3,500 € paid 30 days before the beginning of classes
  • Outstanding payments by direct debit:
    • 5 monthly installments of 550 € each (October, November, December, January and February)
(More information about the bank account and all payment modalities by clicking the "Registration" button, located below the main course image).

Note: the fulfilment of this course is subject to a minimum number of students enrolled. Failure to meet the minimum squares, the money will be refunded.

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