Qualification - Advanced Certificate In Applied Management (Photography)

Course CodeVBS001
Fee CodeAC
Duration (approx)900 hours
QualificationAdvanced Certificate

Office Practices
Develops basic office skills covering use of equipment, communication systems (telephone, fax, etc) and office procedures such as filing, security, workplace organisations, etc.

Business Operations
Develops knowledge of basic business operations and procedures (eg. types of businesses, financial management, business analysis, staffing, productivity, etc) and the skills to develop a 12 month business plan.

Develops knowledge of management structures, terminology, supervision, recruitment and workplace health and safety.

Marketing Foundations.
Develops a broad understanding of marketing and specific skills in writing advertisements, undertaking market research, developing an appropriate marketing plan and selling.



  1. Origins of Photography
  2. Film
  3. Photo Equipment: Part 1
  4. Photo Equipment: Part 2
  5. Developing Film
  6. Enlarging
  7. Lighting
  8. Fault Finding

  1. Composition
  2. Photographing People
  3. Nature & Landscape Photography
  4. Colour vs. Black & White
  5. Special Techniques
  6. Illustrative Photography
  7. Publishing
  8. Business Opportunities in Photography

  1. Image Formatting
  2. Lighting
  3. Sensitometry Part 1.
  4. Sensitometry Part 2.
  5. Understanding Colour
  6. Chemistry of Colour Photography
  7. Filters & Attachments
  8. Lenses

Enrolment fee does not include exam fees (x 8). An exam fee is paid when each exam is sat.


This is the final requirement that you must satisfy before receiving your award.

There are four options available to you to satisfy this requirement:

Alternative 1.

If you work in the industry that you have been studying; you may submit a reference from your employer, in an effort to satisfy this industry (ie. workplace project) requirement; on the basis of RPL (ie. recognition for prior learning), achieved through your current and past work experience.

The reference must indicate that you have skills and an awareness of your industry, which is sufficient for you to work in a position of responsibility.

Alternative 2.

A one module credit (100 hrs) can be achieved by verifying attendance at a series of industry meetings, as follows:

  • Meetings may be seminars, conferences, trade shows, committee meetings, volunteer events (eg. Community working bees), or any other meeting where two or more industry people or people who are knowledgeable about their discipline.
  • Opportunity must exist for the student to learn through networking, observation and/or interaction with people who know their industry or discipline
  • A list of events should be submitted together with dates of each attended and times being claimed for each
  • Documentary evidence must be submitted to the school to indicate support each item on the above list (eg. Receipts from seminars, conference or shows, letters from committee or organisation secretaries or committee members. All such documentation must contain a contact details)

Alternative 3.

Credits can be achieved by completing standard modules Workshop I, II and/or III. Each of these modules comprises a series of “hands on” PBL projects, designed as learning experiences that involve interaction with the horticultural industry. Research shows that PBL gives the learner greater long-term benefits than traditional learning, and many successful and progressive universities around the world use it in their courses. Graduates of PBL courses advance faster and further in their careers.

Other benefits of PBL:

  • Develops critical and creative thinking;
  • Creates effective problem-solvers;
  • Increases motivation;
  • Encourages lateral thinking;
  • Improves communication and networking skills;

Every PBL project is carefully designed by experts to expose you to the information and skills that we want you to learn. When assigned a project, you are given:

  • A statement of the problem (eg. failing business; bad weather at a wedding, budget being halved on a photo shoot);
  • Questions to consider when solving the problem;
  • A framework for the time and effort you should spend on the project;
  • Support from the school.

The problems that you will solve in your course will relate to what you are learning. They are problems that you might encounter when working that field, adapted to your level of study .

Alternative 4.

If you do not work in the relevant industry, you may undertake a project as follows.

This project may be based on applications in the work place and specifically aims to provide the student with the opportunity to apply and integrate skills and knowledge developed through various areas of formal study.

Students will design this project in consultation with a tutor to involve industry based activities in the area of specialized study which they select to follow in the course. The project outcomes may take the form of a written report, folio, visuals or a mixture of forms. Participants with relevant, current or past work experience will be given exemption from this project if they can provide suitable references from employers that show they have already fulfilled the requirements of this project.

For courses that involve more than 100 hours, more than one workplace project topic may be selected. For example, 200 hours may be split into two projects each of 100 hours. This will offer the student better scope to fulfill the needs of their course and to meet the number of hours required. Alternatively, the student may wish to do one large project with a duration of 200 hours.

Students will be assessed on how well they achieve the goals and outcomes they originally set as part of their negotiations with their tutor. During each 100 hours of the project, the students will present three short progress reports. These progress reports will be taken into account when evaluating the final submission. The tutor must be satisfied that the work submitted is original.

If the student wishes to do one large 200 hour report, then only three progressive reports will be needed (however the length of each report will be longer).


1. Students are expected to select a suitable project or task to complete that allows the student toapply and integrate the knowledge and skills they have obtained as part of their studies.

2. The student should submit a draft proposal outlining their proposed project, study or task. The expected outcomes of this project should be clearly stated. This will be looked at by a tutor andcomments made. Students are welcome to visit the school or to talk to a tutor to obtain advice on how to draw up their proposal. The proposal should indicate what the student intends to do, how they intend to do it, where they intend to do it, and what they expect to produce (e.g. a written report, a folio, references from an employer) as a means of showing what they have achieved during their project/study/task.

3. A refined proposal will be submitted by the student incorporating changes based on the commentsmade by the tutor. This updated proposal will either be accepted as being suitable or further comments made. The proposal may need to be submitted several times before it is finally accepted.

4. The student will then be expected to carry out the project, study or task.

Progress Reports

The student will be expected to submit three progress reports during the duration of the progress. This is in addition to the final project product (e.g. report, folio). Each progress report should show what you have done so far (e.g. what research you have done, what tasks you have carried out, etc.). It should also cover any problems you have had so far, and if so, what you have done to overcome these problems. Each progress report should be in the vicinity of 300 - 500 words in length.

Progress Report 1. This should be submitted about one quarter of the way through your study/project/task.

Progress Report 2. This should be submitted about one half way through your study/project/task.

Progress Report 3. This should be submitted about three quarters of the way through your study/project/task.

Final Report

The final report should summarise the objective of the workplace project, and be set out like a professional report. Although content is the most important factor in determining a pass grade for the workplace project, your report should exhibit elements of professional report writing (in regards to spelling, grammar, clarity and presentation).

For 100 hours Workplace Projects: this report should be about 1,500 to 3,000 words.

For a 200 hour Workplace Project: this report should be about 3,000 to 5,000 words.Don’t worry if this is not too clear at the moment, your tutor will be there to support your through the project.


 Tips for Taking Flattering Wedding Photos
There are many tricks to taking flattering photographs.  The first rule – as mentioned earlier – is that if something doesn’t look good don’t be afraid to change it or move it.

Generally, people do not look very good facing flat on to the camera. 

If your subject is facing forward, try taking a step to the side and taking the shot from about a 45 degree angle (they should still be looking at the camera - unless you are going for a wistful gaze off into the distance).  If they are standing on an angle take the photo flat on.
  • It is good to get a series of facial expressions as some people prefer themselves serious, whilst some prefer smiling etc.  Just tell the subject what expression you are after – serious, smiling, looking away, wistful or looking at each other.
  • Experiment by making your subject stand up tall and tilt their chins or heads to one side - towards their partner.  
  • If they are sitting down make sure they are sitting up straight and generally have their legs to one side (this creates a nice diagonal line across the photo).
  • If the bride is seated try placing one of her arms across her body (perhaps with the bouquet in her hand).  This creates a nice line and will hide the bride’s stomach - even if she doesn’t have one she probably thinks she does.  
  • Look out for little bits of people’s bodies protruding where they would rather they didn’t.  
Brides are often crammed into corsets which can leave even the skinniest girl with a bit of skin hanging over the top of the corset around her back and arm pits.  Do not let the bride know you have noticed this!  But do get her to move her arms or body into a position which hides or removes this issue.  Try hands on hips, touching her hair or get the groom to put his arm around her shoulder.  Otherwise you could use a shall or feather boa. 
  • Work with emotions.  You can get some beautifully emotive shots if you communicate well with your subjects. 
  • Ask the couple if they have a favourite side of their face.
  • Always be aware of the light!!!  What is it doing?  Are their faces dark?  Do you need a fill flash?  If you turn their faces into the light what happens?  Can you use it to add drama to the photograph?  
  • In group shots don’t just line everyone up in a row like stunned mullets facing the camera.  Angle people’s bodies, get some of them to place their hands on each others shoulders and if possible or appropriate create height variation by having some sitting and some standing.  It may help to have a rug handy.  It also helps to ask people about their relationships with each other before putting them in too intimate a pose ie. ‘Are you sister and brother?
  • Generally taking photos from below a subject looking up at them is not flattering.  Some Hollywood actresses have insisted the cinematographer not shoot them from low angles.  This catches too much of the double chin.
  • Watch for blinks!!!  Especially with large groups it can be hard to take a photo without one of the twenty people in the photo blinking.  Take multiple shots and always check back through the photos to make sure no-one blinked.  
If you have a tripod you can set the shot up and then rather than looking through the viewfinder look over the camera directly at the action when you press the shutter button – that way you can see if someone blinked or not.  Do not wait till you get home to discover this!
Explore how to take better photos. This is a book packed full of practical tips, from the authors own experience, coupled with a solid introduction to well established and widely practiced photographic techniques. This is a well illustrated, excellent reference for students of photography; and an equally useful source of inspiration to the amateur photographer.

Meet some Of our academics

John Mason

John Mason is one of Australia's most prolific writers. He saw his first work published when at secondary school, where he worked on the school magazine. In 1973 he was writing a weekly column for his local newspaper and by 1975 he was a regular contributor to Australia's national magazine "Your Garden". John was engaged by Victoria's Dept of Youth, Sport and Recreation to write a book on Fun and Fitness Trails in 1978. In 1981 he saw two more books published (one in America, another in Australia), and commenced writing regularly for the Self Sufficiency Magazine, Grass Roots. John is a long term member of the Australian Society of Authors, the Garden Media Guild (UK) and the Horticultural Media Association (Australia). He has written or contributed to over 100 books, many published by international publishers and published more than 2,000 articles across a range of genres (Gardening, Education, Business, Farming, Fitness). In addition, John has contributed to and overseen the development of more than 600 distance education courses which encompass around 20 million words. He has been an avid photographer for 40 years, building a collection of over 100,000 images, which are used to illustrate his work. His marine animal photos are even used by Legoland in England, on their Atlantis ride! Writer, Manager, Teacher and Businessman with over 40 years interenational experience covering Education, Publishing, Leisure Management, Education, and Horticulture. He has extensive experience both as a public servant, and as a small business owner. John is a well respected member of many professional associations, and author of over seventy books and of over two thousand magazine articles.

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