NESOP 2016 - 2017 CATALOG

N E W NEENWG LE AN GN LDA N D S C H OSOCLH OOOFL O F P H O TPOHGORT OA GP RHAYP H Y

IT’S BETTER

NESOP

PROFESSIONAL PHOTOGRAPHY PROGRAM CATALOG

BEHIND THE CAMERA

INSIDE

About NESOP

Majors & Minors

Discover New England School of Photography 1 Our Mission/Your Career 1 The Education 2 The Setting, The Student Body, The Faculty 3-4 Student Services 4

Advertising and Commercial Photography 7 Architectural Photography 8 Documentary Photography 9 Editorial and Corporate Photography 10 Fine Art Photography 11 Portraiture and Wedding Photography 12 Visual Journalism 13 Fashion Photography 14

Academic Program First Year 5 Second Year 6 Seminar Series & Supplemental Courses 15 Portfolio Review 16

Faculty Biographies 17 Administration 20

Admissions Requirements/Policies and Procedures 21 Financial Aid 22

MAKE A CAREER DOING WHAT YOU LOVE The decision to pursue a career in professional photography starts with a passion for capturing the moment. The commitment to succeed at it requires more: artistic vision, technical and creative problem solving skills and practical business knowledge.

Since 1968, New England School of Photography (NESOP) has been creating marketable artists. NESOP offers a complete photographic education that empowers you to turn a passion for photography into a successful, fulfilling profession. You can make a career doing what you love. It all starts here.

The NESOP two-year, intensive Professional Photography Program focuses exclusively on photography to provide practical technical training while nurturing your creative development.

Located in the heart of dynamic Boston, Massachusetts, NESOP offers an exciting and supportive environment for living, learning and working. With unparalleled opportunities for creative exploration, it’s the ideal place to develop your skills, take chances and think creatively in an urban setting that’s rich in history and culture.

NESOP gives you the flexibility to concentrate on the areas of photography that interest you most—from commercial to fine art. A family-owned business, NESOP is small enough to feel like home, yet large enough to expose you to diverse students, perspectives and industry opportunities.

Develop the technical, artistic and business skills you need. The Professional Photography Program at NESOP immerses you in all aspects of photography and helps you to meet the challenges of an exciting and competitive industry.

OUR MISSION

Preparing students for the real world At New England School of Photography, our mission is to produce creative and skilled craftspeople in the art of visual communications. We achieve it with our faculty of highly qualified, working professional photographers that teach in the classroom what is readily marketable in the real world. Your mentors as well as instructors, these skilled professionals provide practical, real-world assignments and hands-on training with the same modern equipment used in the industry today.

1

The NESOP philosophy is to help you succeed in taking your career in the direction you want it to go. If you choose the commercial path, you’ll get the artistic training you need to succeed at your craft while learning how to build a progressive portfolio and solve problems creatively. If your interest is fine art, you’ll get the technical training required to fully realize your creative vision. At NESOP, we balance the technical, artistic and business sides of your photographic education. The advantage to you is a thorough, relevant photographic education that enables you to thrive as a professional and continue to grow as an artist long after graduation.

You’ll find a wealth of resources to help you build your career • Advanced digital imaging and traditional photographic techniques integrated into a comprehensive, career-focused curriculum • The latest professional equipment and lab facilities • Outstanding faculty of working professional photographers • A diverse, intimate community of students from all over the world • Historic Boston—a thriving urban and cultural center with access to limitless photographic resources and opportunities

THE EDUCATION

EAT, SLEEP AND BREATHE PHOTOGRAPHY

A comprehensive, exceptional exploration in photography The NESOP Professional Photography Program is sixty weeks of lecture, hands-on instruction and active lab time spread over two academic years. Our graduates attest that it’s the ideal timeframe to gain a mastery of the technical and business skills required to succeed as a professional photographer, develop a distinct, identifiable style and achieve visual problem-solving expertise that brings value to the industry and their clients.

In professional photography, technical skill is your foundation; yet creative ability and problem-solving skills are the elements that set you apart from the competition. A NESOP education affords you the time to think imaginatively and push yourself beyond your creative limits. NESOP graduates enter the industry with at least two cohesive, professional portfolios (a major and minor). This gives you a competitive advantage unique to the NESOP education. During your two years at NESOP, you’ll be presented with and expected to solve various visual challenges while gaining an understanding of how you work best, which is vital for organizing an efficient workflow and building an effective business.

At NESOP, your learning opportunities extend far beyond our facilities. Day and night, in and out of class, NESOP offers you a wide range of programs and opportunities that complement your academic studies and bring you outside perspectives. These include exhibitions, special seminars, conferences, guest lecturers, museum memberships and industry networking opportunities.Through our memberships and relationships in the photographic community, you can take advantage of many resources as a NESOP student, including: An institutional membership at Boston’s Photographic Resource Center (PRC) Located just a short walk from NESOP, the PRC is one of the premier photographic centers in the world. An independent, non-profit organization, the PRC houses a 4,000-volume library and presents exhibitions, fosters education, develops resources and facilitates community interaction for local, regional and national audiences. Cited by the Boston Globe as “one-stop shopping for the photo buff,” the PRC is one of the most unique and all-encompassing resources for photographers. Our institutional membership allows full-time students access to this exceptional center.

Membership with the Museum of Fine Arts, Boston (MFA) Every NESOP student receives free entry to the museum, along with discounts on special exhibits and in the museum shops.

The MFA is an inspiring space for all students to explore, with artistic exhibits of all kinds and information on the history and methods of revered artists from the past and present. A magnificent resource for any artist, the MFA is sure to bring a new perspective, understanding and creativity to your work.

‘‘

Membership with the Griffin Museum of Photography Every NESOP student receives free entry to the museum, discounts to the museum shop and on admission to workshops, free access to lectures and free entry into the Juried Show Portfolio Review. A non-profit organization dedicated solely to the art of photography, “the Griffin” offers exhibitions, programs and lectures in an effort to encourage a broader understanding and appreciation of the visual, emotional and social impact of photographic art. NESOP students are able to experience work from emerging and celebrated national and international photographers, informing and inspiring their own work.

The Garner Center for Photographic Exhibitions at NESOP NESOP students become familiar with important work being done in the field of photography through exhibitions in our photographic gallery, the Garner Center. Experiencing the work of celebrated professionals enriches your growth and personal vision. Many exhibiting artists give lectures in conjunction with their shows, which are free to anyone in the NESOP community. These artist lectures are a valuable educational tool for emerging photographers. Each year, the Garner Center hosts an exhibition of the Professional Photography Program graduating students’ work. An impressive display of varied and unique images and styles, this show opens with a reception on the day of graduation and is the culmination of two years of hard work. A tribute to our graduates and a celebration for all those who supported them during their time as students, this exhibition is an exciting event to cap off each academic year.

I LEARNED MORE IN THE FIRST TEN WEEKS [AT NESOP] THAN I DID IN

”

THE FOUR-YEAR BFA PROGRAM I COMPLETED BEFORE NESOP!

Meredith Thompson NESOP Alumna, Advertising and Fashion Freelance Photographer

2

THE SETTING GET TO KNOW BOSTON

Vibrant, historic Boston NESOP is located in Boston’s Kenmore Square. A dynamic urban hub, Kenmore Square offers the benefits of a vibrant metropolitan location to students seeking a well-rounded educational experience. Here, you’ll find access to countless resources—from world-class museums, libraries and galleries to a thriving arts and music scene. The legendary Fenway Park—home of the Boston Red Sox—is right around the corner. Nearby, you’ll find Lansdowne Street, one of Boston’s best-known nightlife districts, the home of dozens of clubs and restaurants and a popular destination for local college students. At NESOP, the best of Boston is close by. From here, you can explore the limitless shooting opportunities offered throughout the diverse areas of New England.

Boston has a strong photographic community, and as a NESOP student, you’ll quickly become part of it. NESOP is well connected to Boston’s thriving photography, academic and business communities. These connections provide a wealth of invaluable resources and real-world experiences to NESOP students.

NESOP’s neighbor, the famous Citgo sign in Kenmore Square, contains five miles of neon tubing About 300,000 college students live in Boston About 645,000 people reside in Boston proper Boston’s average annual temperature is approximately 51° F with summer highs occasionally reaching 90+° F and winter lows occasionally falling below 0° F Before a landfill project started in 1857, the Back Bay area of Boston was a 570 acre body of water Boston’s historic Fenway Park, home to the Boston Red Sox baseball team, opened on April 20, 1912

‘‘

More than 18 million people visit Boston every year he John Hancock Tower is 60 stories tall T and boasts 13 acres of glass

SHOOTING CAMPAIGNS FOR BIG CLIENTS LIKE T-MOBILE, HP AND MILK IS BOTH TECHNICALLY

”

AND CREATIVELY DEMANDING. NESOP’S PROFESSIONAL PHOTOGRAPHY PROGRAM PREPARED ME TO SUCCEED IN THIS VERY COMPETITIVE [COMMERCIAL] MARKET.

3

Adrian Mueller NESOP Alumnus, Advertising and Commercial Photographer

THE STUDENTS MEET THE STUDENTS

A diverse, welcoming community of photographers When you enroll in the NESOP Professional Photography Program, you join a diverse yet intimate student body of individuals from around the world. Motivated and creative, NESOP students bring distinct perspectives and specialized skills that contribute to our uniquely supportive atmosphere. Many students come to NESOP right after high school, some after completing college and others after pursuing different careers or interests.

From the high school graduate eager to start on a career path to the MFA graduate seeking a cohesive, marketable professional portfolio—the common thread linking all NESOP students is an enthusiastic commitment to grow technically and artistically as photographers.

At NESOP, you benefit from small classes which encourage a close working relationship between instructors and students.

Class sizes range from seven to a maximum of 20 students for instructional/laboratory classes and to a maximum of 35 students for lecture classes. NESOP instructional/laboratory class sizes are typically kept under 16 students.

THE FACULTY

ACCOMPLISHED PROFESSIONALS, DEDICATED EDUCATORS NESOP faculty members are working professional photographers representing all major areas of the industry. Many are winners of major photographic and academic awards, internationally-published photographers and acknowledged experts in their field. As a student, you study with these skilled professionals offering years of real world experience. You benefit from their unique views, innovative approaches to photography and teaching, and a sincere commitment to help you turn practical skills into a personal vision that serves you throughout your professional photographic career.

More like an extended family than a staff, our faculty members show a high degree of loyalty to NESOP. Some are early NESOP graduates. Others have been with us for decades. At the same time, NESOP’s reputation for excellence allows us to regularly attract new instructors, and with them, fresh perspectives. This dynamic mix of professionals combined with the cumulative experience and depth of knowledge our faculty offers are rich resources on which to draw as a NESOP student and graduate. The bonds NESOP students forge with our faculty are strong and enduring. Long after they have become successful professionals, our graduates continue to look to NESOP instructors as mentors and authorities.

BUILD THE CAREER YOU WANT An invaluable network of photographers Over the past four decades, NESOP has graduated many hundreds of students who now work professionally around the world. Alumni are linked through NESOP’s Alumni Connect Program, through which NESOP graduates can receive the alumni newsletter, participate in alumni networking events in Boston and beyond and connect with one another and remain involved with the school via NESOP’s Department of Student Services.

In addition, all NESOP graduates have 24-hour access to NESOP’s Job Portal, which features online detailed postings, updated in real-time, of job leads and industry opportunities.

A head start in the Industry From your start in the program until well after graduation, the NESOP Student Services department can assist you in establishing yourself as a professional in the field and in finding full-time and freelance work. While you’re still in school, we’ll help you identify and obtain internships and assisting opportunities.

In your second year, you will be granted student-level access to job leads and calls for entry via NESOP’s Job Portal.

Upon graduation, you will be granted full access to the Portal so that you may take advantage of job and industry opportunities at your convenience.

Career services are available to all graduates of the Professional Photography Program.

To receive career and placement assistance as a graduate, your account must be in good standing, you must update your contact information with NESOP upon graduation and you must respond to graduate employment surveys made by the school. NESOP does not guarantee employment.

Beyond the classroom Many students have the chance to work in the field before graduation.

Our Director of Student Services is present at your portfolio review to become familiar with your work so that NESOP may better guide you.

NESOP offers many professional development opportunities beyond the classroom. In addition to our in-house Insider Training seminars offering careerbuilding tools and support and Industry Networking Day, where outside industry professionals offer portfolio reviews and networking opportunities to graduating students, we keep students and graduates informed about important events and opportunities in the photographic community in Boston and beyond.

4

FIRST YEAR

BUILD A SOLID FOUNDATION

THE

ACADEMIC

PROGRAM

e first year of the Professional Photography Program establishes a solid foundation in photographic craft and visual communications in Th contemporary (digital) and traditional (film) technologies. This year emphasizes mastery of fundamental technical skills and the underlying principles of black & white and color photography through proper metering and exposure methods, image capture and final image output in both digital and analog formats.

5

s you progress technically, the program structure enables you to explore design concepts and develop your ability to convey ideas in a solid A and exciting visual language. While emphasis is on current digital technologies, NESOP incorporates film into its first-year curriculum as a unique teaching and learning tool. Working with film dissects the image-making process so that students may practice bringing their images to perfection. This practice increases the students’ understanding of the digital process and ultimately augments their ability to use the full range of digital imaging tools available. From capture to process to output and from black & white to color photography, year one ensures the solid formation of the technical and aesthetic skills necessary for success in the advanced specialization areas during the second year.

1

TERM

2

TERM

3

TERM

Introduction to Digital Capture— 5 units

Exploring Studio Lighting—5 units

Advanced Capture with Photoshop —5 units

This foundation level course introduces students to the digital single lens reflex camera as the primary tool with which they will capture and create images. Comprehensive lectures and instructor-led shooting exercises will familiarize students with basic camera controls including ISO, aperture and shutter speed. As the course progresses, more advanced concepts such as white balance, light metering, the histogram and basic TTL flash operation will be added to the photographer’s tool box. Students will leave this course with a comprehensive understanding of basic camera equipment and camera functions necessary to move forward in the program.

Testing and refining the basic camera, exposure and lighting skills learned in the previous term, this class provides intensive training in controlled studio lighting using tethered digital capture and multi-light portrait and tabletop sets. Students will master exposure, contrast, light quality and mood through the use of professional studio strobe equipment and various light modifiers, reflectors and diffusers. Daily exercises and shooting assignments will demonstrate techniques for lighting textural, transparent/ translucent and highly reflective objects.

Emphasizing a proficiency and comfort level working under creative direction and production deadline pressures, students will discover the endless possibilities available to the studio photographer and will leave this exciting class with professional-quality portfolio pieces.

Today’s digital photographers often must move beyond simply recording “found” images and instead assemble final photographs from carefully crafted pieces. This advanced capture/ post-production course challenges students to apply their imagination to a solid understanding of the nuances of composition, lighting and Photoshop layering, blending and selection techniques in order to push past conventional constraints. By creating and printing simple product composites and convincing and confounding photographic illustrations captured both in the studio and on location, students will gain an appreciation for the potential of digital imaging to solve technical problems or to realize an artistic vision.

Digital Workflow I —4 units Working in tandem with the Introduction to Digital Capture class, this course introduces students to Adobe Lightroom as a database management and digital darkroom tool.

Throughout the term, students will delve into RAW file development, file formats and interpolation, color correction, inkjet printmaking as well as data back-up strategies. At the end of the course, students will have a thorough understanding of how to manage a photo database and process their images for digital and print output.

Photographic Art and Design—5 units This course shifts the emphasis from technical skill to the visual aspects of image making that transform a photograph from a simple picture to a powerful visual communication tool. Through visiting galleries and museums, viewing films and analyzing photographs in class, students learn to identify the elements that allow images to communicate and develop a language to critique work. Students break down photographs to their core compositional elements and gain a greater understanding of how to employ these visual components in the creation of their own work. Weekly assignments encourage students to utilize different compositional elements in their image making and explore ways to communicate visually.

History of Photography—2 units

Understanding the technical and aesthetic development of photography is essential to a complete photographic education. In this course, students examine major figures, movements, techniques, contributions and breakthroughs within the field, in holistic context. Lectures and discussions, demonstrations and handling of historical photographic objects involve students in learning about the history of this profession.

Outside reading and photographic research assignments supplement lecture and class content.

Digital Workflow II—3 units In this course, students continue to develop their workflow skills using advanced methods for preparing and processing digital files. The power to edit, adjust, create and manipulate images is discovered by students as they are introduced to the essential photographer’s tool, Adobe Photoshop. Hands-on, experiential learning is emphasized as students explore the valuable tools within this software, and weekly assignments allow students to unleash the creative possibilities within their photographs.

Effective and efficient printing skills and scanning methods are also introduced.

The Black & White Darkroom—5 units This film-based, multi-format course brings students into the traditional darkroom to explore the black & white photographic medium.

Different film development techniques and printing skills illustrate the creative possibilities in this traditional method of photography. The Zone System, an advanced method of film exposure and development, is explored and the 4 X 5 view camera is introduced to highlight the unique camera movements that large format photography offers. Through weekly lectures involving historical and contemporary black & white photographs, students gain a greater understanding of this powerful medium.

Practical Business and Marketing for Photographers—3 units This course focuses on target marketing and business strategies for specific areas of professional photography: advertising, editorial, fashion, portraiture and the fine arts. Through course lectures and expert guest speakers, students gain detailed insight into the business and marketing skills required to succeed in these specialized areas of photography.

Additional topics include portfolio development, résumé writing and interviewing techniques, website design and self-promotion.

Video for Photographers —5 units The convergence of filmmaking with photography has created a profound shift in the nature of visual media, and with it, broad new opportunities for photographers. The ability to tell stories with still imagery enhanced by movement and sound has become a crucial (and highly marketable) skill made more accessible by video-capable DSLR cameras and simple, intuitive authoring tools like Apple’s Final Cut X. This course combines Final Cut X instruction with professional DSLR video, lighting, audio recording, narrative and interview techniques. From concept to completion, each student will be guided through the production process of a sophisticated multimedia story.

Speedlights—3 units This course focuses on electronic flash and lighting techniques applicable in contemporary photography. Weekly lectures and demonstrations paired with in-class shooting exercises will cover on-camera flash operation to advanced off-camera multiple flash synchronization. Methods of modifying ambient light will also be introduced. Weekly assignments will help students build a foundational understanding of controlled lighting outside of the studio. Students will be encouraged to develop and explore their own creative aesthetic concepts in a thematic final project presented as a print portfolio.

Intensive Digital Printing—3 units

In this course, students will learn the art of high quality inkjet printmaking. Beginning with Adobe Lightroom and later moving into Adobe Photoshop, color management with profiles will be stressed in order to create a workflow based on refinement of test prints. Weekly lectures and assignments will focus on color theory, media substrates, soft proofing, digital black and white conversions, as well as interpretive control of contrast, tone and saturation. By the end of the term, students will have learned to effectively see color, translating the image from screen to print.

SECOND YEAR

CHOOSING YOUR AREA OF SPECIALIZATION In the second year, you choose courses in your areas of interest and specialization, selecting a combination of courses totaling between 10 and 24 class units each term. During your second term, you declare your Major and Minor areas of concentration. The emphasis is on developing and refining a creative vision while cultivating the marketable skills needed to succeed as a photographic professional.

A broad range of course offerings, a high degree of choice and the exceptional depth and diversity of instructor expertise support the pursuit of this goal. Solid business training and practical experience with industry-standard and emerging technologies ensure your readiness as a competitive professional photographer in today’s marketplace.

MAJORS & MINORS As you progress, you choose an area of concentration—your Major—to deepen your studies. You also choose a Minor area of concentration, allowing you to enhance your skills and produce a second, complete professional portfolio.

Majors Offered

Minors Offered

Advertising and Commercial Photography

Fashion Photography

Architectural Photography

Advertising and Commercial Photography

Documentary Photography

Architectural Photography

Editorial and Corporate Photography

Documentary Photography

Fine Art Photography Portraiture and Wedding Photography Visual Journalism

Editorial and Corporate Photography Fine Art Photography Portraiture and Wedding Photography Visual Journalism

About Supplies: Each first-year student is required to have his/her own digital SLR camera, lenses and flash. NESOP strongly recommends that each student purchase his/her own laptop computer. Before classes begin, each first-year student will need to purchase his/her own digital SLR camera, a flash and two external hard drives; equipment specifications for these items will be provided during the admissions process. No other purchases of supplies or equipment need be made before classes begin. A complete list of additional equipment specifications is provided by the first week of classes. The estimate for books, photo supplies and equipment that each student will purchase while in attendance at the school is approximately $4,500 per academic year, but it varies per individual student. This estimate is not part of tuition and is not paid directly to the school.

6

Advertising and Commercial In this major area of study, students learn to create unique, high-impact studio images for the advertising and commercial industry. Through the advanced study of lighting and design, students learn the art of photographing products, food, still life and people in the studio. Patience and acute attention to detail are emphasized throughout this program as students design contemporary sets that can take several hours or even an entire day to photograph. Students develop a thorough understanding of all elements of the commercial shoot, from developing a concept, layout and design to establishing an efficient workflow for image capture, processing and output. Learning to work with art directors and clients, creatively solve problems on a photo shoot and effectively market work

Kate Kelly

Gregory Perko

Shauna Tata

Carly Gillis

MAJOR MINOR

are important components of this program and essential for success in the advertising and commercial photography industry.

Andrew Moran

Advertising I: Technical Skills of Light and Design 5 units In this course, students are immersed in the studio, mastering digital capture equipment and an extensive array of professional studio lighting. Through lectures, demonstrations and individual in-class shooting, students explore a wide range of subjects and learn to overcome common challenges like photographing glass and other reflective objects. Weekly assignments encourage students to develop unique concepts and well-designed layouts for their photo shoots. Throughout this course, pre-planning and creative problem solving are emphasized.

Advertising II: Real World Commercial 5 units As students continue to advance both technically and creatively in the studio, they develop a deep understanding of the professional world of advertising and commercial photography. During this term, students gain a solid understanding of their role, as well as the roles of others involved in a commercial photo shoot—such as clients, art directors, creative directors and prop stylists. Weekly assignments explore more complex elements and more intricate set design. Creative tricks and special effects are introduced to help students bring their work to an advanced level. Throughout this course, students are encouraged to continue pushing their creativity and develop a signature style for their long-term portfolio projects.

7

Advertising III: Creating the Cohesive Portfolio 5 units This term is devoted to the continued development and execution of each student’s unique style in the creation of their professional advertising and commercial portfolios. Classes discuss trends in the field and identify traditional and emerging markets. There is a continued emphasis on the creation of dynamic images and the professional business practices necessary for success. Weekly lectures continue to address issues like presentation, pricing and marketing, ultimately providing a broad and thorough understanding of the business elements within advertising and commercial photography.

Architectural I: An Introduction to Architectural Photography 5 units This course introduces students to the world of architectural photography. Class lectures address the wide array of equipment and methods used in capturing both interior and exterior architectural photographs. In addition, lectures furnish solutions for overcoming common challenges like distortion issues and dealing with mixed light sources. An emphasis on designing and styling a photograph as well as creative problem solving on location teaches students to navigate a variety of challenges. Classes will include well-established architectural photographers as guest speakers who will showcase and discuss their portfolios while addressing how to break into the industry from a marketing standpoint.

Architectural II: Multimedia, Post-Production and The Marketplace 5 units Building on the concepts from term one, students will hone their skills in order to create dynamic exterior and interior images which focus on the dramatic use of light and digital post-production. Multi-media will be introduced as a tool used to meet client needs in an evolving industry. Additional weekly lectures will delve into more in-depth business concepts including licensing and pricing.

Architectural III: The Architectural Portfolio 5 units Having mastered the technical skills in the previous terms, students will work to expand their portfolios through extended location shooting. The year-long course will culminate in the creation of a dynamic portfolio of cohesive still images and a multimedia piece. Students will also generate price lists, legal forms, promotional cards and gain other business skills essential for success in this field.

Jennifer Langis

Diego Navarro

Timothy Bartlett

MAJOR MINOR

Edwin Penalba

Michelle Jung

Architectural Within this program, students gain the technical knowledge and professional skills essential to success in the field of architectural photography. An examination of the extensive equipment available, video and the latest digital technologies help students choose the appropriate tools to effectively and creatively capture images. Weekly lectures provide inspiration on style as well as analysis of post-production techniques necessary to create modern portfolios congruent with industry standards. This course covers interior design, hospitality, retail, restaurant, corporate and institutional photography for editorial and corporate applications. Scheduled on-location shoots with the instructor provide students rigorous one-on-one training and firsthand experience photographing some of Boston’s most exciting historical gems while developing problem solving and efficient workflow skills. Business considerations, such as working with clients, legal issues and identifying different architectural photography markets, complete this comprehensive program. Beginning in Term 2, the use of multimedia becomes an integral part of the course and an important component of the students’ final portfolios.

8

Documentary This program examines the use of documentary photography as a communication tool for the visual investigation of contemporary issues. Students develop the skills to be effective storytellers through photographs, created with their own visual voices and from their own unique perspectives. Throughout the course track, students are challenged to choose a long-term project, invest in it and explore it deeply, overcoming any hurdles they encounter along the way. The various outlets and markets available for documentary

Aram Dulgarian

Jess Clark

Katie Kaizer

Edwin Penalba

MAJOR MINOR

photography are identified and the business skills essential to success in this field are emphasized.

Anna Olivella Rob Collins

Visual Narrative Lab: (This Term 1 course is required for Documentary majors.) 5 units We live in a time when access to ideas and social concerns have never been more available. As documentarians and visual journalists, these are exciting times and call upon our skills in new ways. The Visual Narrative Lab begins the process of exploring visual problem solving and personal vision through a series of short weekly assignments, in-class critique and presentations important to generating and sustaining strong stories.

In this class, students will work to explore and master the concepts and skills for producing non-fiction photography and video. The weekly critiques of assignment and project work will focus on new ways to talk about pictures, including deconstructing the formal elements of composition and locating the keys to the photographer’s authentic voice. The format combines the already strong technical skills from Year One with an exploration of visual creativity and powerful story telling.

Documentary I: Evolution of the Documentary Project 5 units In this course, students continue the long-term projects started in the previous term. Regular analysis of classic and modern documentary photography projects help students gain a mature understanding of the field and provides additional perspective on the evolution of their own documentary projects. Course discussions address developing personal style and vision, the elements of editing and the concept of process. The centerpiece of this course is the weekly review and critique of each student’s individual work.

9

Documentary II: The Documentary Portfolio 5 units Students in this course will continue to work on the long-term documentary projects started in the previous two terms, ultimately creating a final portfolio of images that tell a story from their unique point of view. Guest lectures and occasional field trips to view documentary exhibitions allow for additional exploration within the documentary field. Weekly discussions will address legal issues, ethics, marketing and presentation as students work towards the completion of their final professional documentary portfolios.

Editorial I: Study of the Editorial Market 5 units In this course, students analyze the editorial and corporate photography fields with a focus on careers. Through course assignments, students explore the creative possibilities and technical challenges that location photography offers. Using a variety of light sources and light modifiers, students learn to control light on location. Class lectures identify different areas within the field—including travel, profiles and features—and emphasize the importance of the photographer’s viewpoint in making images. Weekly critique sessions provide valuable feedback from viewers and help students in progressing their work.

Editorial II: The Projects Class 5 units During this term, students choose a long-term editorial project to challenge them and provide advanced learning opportunities.

Throughout the course, students are encouraged to develop and refine their unique editorial style. Additional technical skills, including advanced lighting techniques and multiple light set-ups provide more tools to help students unleash their creativity and imagination in their image making. Class lectures on working with clients and editors, pricing, licensing and print markets versus web-based markets help students develop a solid understanding of the business aspects of this field.

Editorial III: The Personal Portfolio Class 5 units Throughout the final course in this program, students continue to build and hone a distinct body of work that showcases their personal photographic style. Weekly critiques will aid in polishing the design, layout and presentation of each student’s final professional portfolio. Additional lectures addressing contracts, legal issues and developing a marketing strategy will complete this program. This provides a comprehensive education in creating visually dynamic editorial images. Students also gain a thorough understanding of the industry, essential for success in editorial and corporate photography.

Christina Orlando

Sarah Santos

Sarah Santos

MAJOR MINOR

Scott Lacey

Anna Olivella

Editorial and Corporate This program examines photography as a communication tool within the realm of editorial and corporate publications—including magazines, annual reports, brochures and other print and web-based media. Client-centered location photography plays a primary role in this program, emphasizing the importance of technical problem-solving and the use of creative lighting and composition. Throughout the program, students develop skills to create dynamic, exciting images that clearly communicate with viewers.

A thorough analysis of the editorial and corporate market provides students with a solid understanding of the vast opportunities that exist within this industry.

10

Fine Art The Fine Art Major is designed for students looking to establish themselves as fine art photographers. Students are required to strengthen their visual literacy and master technical skills while exploring various visual paths for their work. Weekly critiques will guide students on how to effectively edit their photographs and talk about intention. Business components are integrated throughout this program to emphasize an understanding of the broader fine art market. At the end of the year, each student will have produced a polished, cohesive body of work ready to present to gallery directors and curators.

MAJOR MINOR

Libby Gowen

Daniella Goncalves Alexa Torre

Timothy Bartlett

Christiana Rifaat

Ivannia Odio

Yorgos Efthymiadis

Fine Art I—5 units This course begins with the question, “What is art?” Through class lectures, readings and viewing the work of contemporary fine art photographers, students define the concept of art and learn to employ these concepts in their work. Assignments will encourage students to explore their own creativity and experiment with various forms of artistic expression as they work towards finding a long term project. Intensive critique will encourage students to learn the editing process and how to talk about their work.

Students may work in digital or analog mediums, both in color or black and white.

Fine Art II—5 units In this course, students are encouraged to push their creativity to the limit while developing a dynamic body of photographs. Gallery visits, reading assignments, research projects and class discussions support the students’ development in their project work as they strive towards visual literacy. Introductory methods of breaking into the fine art world will be introduced as students complete calls for entry and consider topics such as modes of presentation and pricing.

Fine Art Portfolio—5 units Fine Art Portfolio is devoted to the completion of a cohesive body of work which is the culmination of an extensive photographic investigation.

Weekly exercises will introduce students to important topics in project completion from image size, titling work, writing effective artist statements and presenting work to gallery directors and curators. By the end of this course, each student will have a dynamic, cohesive completed project ready for gallery exhibition.

11

Portraiture I: Traditional Portrait Techniques 5 units Students in this course begin by mastering the base technical skills essential to every portrait and wedding photographer. Weekly lectures and demonstrations provide a thorough understanding of controlling light in the studio and on location, utilizing traditional lighting patterns and styles, posing and subject direction. Course assignments emphasize technical skill and aesthetic considerations. Regular discussion and analysis of contemporary portrait and wedding photography help students discover and understand the current styles and trends within the field.

Portraiture II: Contemporary Experiential Portraiture 5 units Throughout this course, students are exposed to a wide array of portrait subjects both within the studio and on location. From children and babies, families and groups to brides and couples, students explore these subjects and discover the challenges that each present. Course lectures and assignments emphasize developing an effective workflow during the shoot, efficient editing and image processing and working with professional print laboratories.

Weekly critiques encourage students to hone their personal vision and further develop their unique style.

Portraiture III: Creating the Portrait and Wedding Portfolio 5 units The final course in this program is dedicated to the production of a dynamic, cohesive professional portfolio that enables students to enter the field of portrait and wedding photography upon graduating. Students are challenged to develop a creative body of work that showcases their signature style, which sets them apart from other professional photographers in the industry. Design and presentation options are addressed as students continue to evolve their portfolios throughout the term. Weekly discussions on self-promotion, pricing, contracts, working with clients and identifying and understanding different markets complete this program.

Katie Kaizer

MAJOR MINOR

Molly Burns

Samantha Bruning

Chandra Guthro

Fredo Gonzalez

Melanie O’Brien

Portraiture and Wedding This program encourages students to dive into the ever-changing world of professional portrait and wedding photography. After developing a solid foundation in the technical aspects of portrait photography, students are encouraged to push the limits of their creativity and discover their unique personal style within the field. A strong emphasis on the creation of technically solid, dynamic images, professionalism and progressive business and marketing skills provides a comprehensive education for students seeking success in this exciting, consumer-driven field.

12

Visual Journalism

This major area of study challenges students to explore the concept of visual journalism and teaches

them to use still cameras, video cameras and audio equipment as tools for communication in today’s multimedia environment. Students in this program work alongside seasoned professional photojournalists to complete assignments based on real world events such as breaking news and politics, professional sports, rallies and demonstrations and other newsworthy events. An emphasis is placed on understanding the latest trends and technology in this fast-paced, exciting field. NESOP visual journalism students regularly have opportunities to publish their photographs in local newspapers, magazines and on the web.

Yusuke Suzuki

Yusuke Suzuki

MAJOR MINOR

Alec Bellante

Yusuke Suzuki

Brian Walters

Brian Walters

Visual Narrative Lab: (This Term 1 course is required for Visual Journalism majors.) 5 units We live in a time when access to ideas and social concerns have never been more available. As documentarians and visual journalists, these are exciting times and call upon our skills in new ways. The Visual Narrative Lab begins the process of exploring visual problem solving and personal vision through a series of short weekly assignments, in-class critique and presentations important to generating and sustaining strong stories. In this class, students will work to explore and master the concepts and skills for producing non-fiction photography and video. The weekly critiques of assignment and project work will focus on new ways to talk about pictures, including deconstructing the formal elements of composition and locating the keys to the photographer’s authentic voice. The format combines the already strong technical skills from Year One with an exploration of visual creativity and powerful story telling.

Visual Journalism I: Multimedia and the Storytelling Process 5 units Students will learn storytelling techniques in order to produce short video journalism and documentary film pieces using audio, video and still photography for multimedia presentations. The focus of this course is on finding a character, researching, working with a subject and interview techniques: the a-roll and shooting the story: b-roll; wide, media, tight and super close-up, pans, zooms, etc. Students will create weekly video projects that practice these techniques, ultimately producing several visual pieces in Final Cut Pro X that they have researched throughout the term. Local filmmakers and journalists will join the class as guest lecturers to discuss their own work and critique student projects. This course will emphasize the use of multimedia presentations but when appropriate will also include still photographic assignments.

13

Visual Journalism II: The Visual Journalism Portfolio 5 units Students choosing to major or minor in visual journalism spend this term continuing to develop a cohesive body of work. Students are encouraged to continue honing their vision through class critique and discussion. Through exploration of various digital media, students analyze different methods for effectively presenting their professional work. Final portfolios emphasize the main areas of photojournalism (news, sports, features, portraits) with an emphasis on multimedia story telling.

Fashion I—5 units Starting with a history of the fashion industry, this course explores the impact that fashion and its associated ideas and stereotypes play in our society.

Regular analysis of contemporary fashion images help students identify current trends and styles in the industry. Extensive work in the studio and on location, utilizing a wide array of equipment, provides students with the solid technical skills necessary for creating contemporary fashion images. Weekly demonstrations highlight a wide variety of lighting styles, including dramatic, beauty and glamour. Students gain experience in all areas of the fashion world, including catalog, runway and advertising photography. Weekly critique of student work addresses technical issues and encourages creativity.

Fashion II—5 units During this term, students work extensively with models, modeling agencies and modeling schools. Through weekly in-class photo shoots, students learn how performing test shoots, giving direction, the photographer’s attitude and psychology play a critical role in the fashion shoot. Students gain a thorough understanding of the members of the fashion team, including general stylists, make-up artists and hair stylists. Course discussion will address business considerations such as contracts, pricing, legal issues and identifying various fashion markets. Throughout the term, students work to develop a unique personal style, ultimately producing a dynamic, cohesive portfolio of professional images.

Lyn Freeman

MINOR

Sarah Santos

Diego Navarro

Jennifer Rose Keany

Sarah Santos

Fashion

Within this minor program, students explore the stylized and exciting field of commercial fashion photography. Through

research, discussion, demonstration, practical application, field trips and guest lectures, students gain a thorough understanding of the field, preparing them for a career within the world of fashion photography. Throughout this program, students work directly with models and local fashion designers to create a dynamic portfolio of professional fashion images.

14

SECOND YEAR SUPPLEMENTALS

In year two, students have access to a number of elective courses. Depending on your Major and Minor, these course offerings are either completely optional and can be used to augment your education or may be required to complete your area of specialization. They provide additional techniques to further strengthen the competitive edge you achieve with a NESOP education. From exploring influential movements in art to in-depth electronic marketing, these classes provide you with inspiration and tools for your art and smarter practices for your business.

REQUIRED

SEMINAR

CrossCurrents

The CrossCurrents program is a series of required seminars offered during year two of the Professional Photography Program. These seminars cover a range of topics not broad enough to fill a course, but that are valuable additions to a professional photographer’s repertoire. Delivered by outside subjectspecific experts, the CrossCurrents program enhances the learning experience while providing networking opportunities within a familiar academic environment.

SUPPLEMENTAL

COURSES

Externship— 6 units

An externship is an opportunity for a second year student to expand upon the photographic skills learned in the classroom in a real-world setting, guided by a professional in a relevant, modern work environment. Externships offer a broad range of photographic and industry experience, so that students, whether commercially or fine-art focused, are able to take advantage of opportunities that will help them build marketable skills through hands-on experience and begin establishing professional networks long before they graduate.

Each student will secure his/her own externship, working with an on-site supervisor to create a weekly schedule built around his/her course load. A list of pre-approved institutions who are interested in working with NESOP students is available in the Academic Office, though students are also encouraged to and may secure opportunities from additional institutions. This course is offered as an elective to all second year students.

Alternative Process— 3 units Historical photographic processes are experiencing a resurgence in many areas of professional photography. Today, many fine art and commercial photographers are exploring alternative processes and finding ways to use them in their work. Processes taught and tools used in this course include platinum, Vandyke Brown, cyanotype, palladium, pin-hole camera, emulsion lifts, salt prints and paper negatives. Class critiques address technical and aesthetic aspects of the student images.

This course is offered as an elective to all second-year students.

15

Advanced Business Development— 3 units

Art Since 1945— 3 units

Taught by rotating members of the second year faculty and for students preparing to launch their own photography business(es), this course is designed to equip students with advanced business concepts and skills that expand upon the business curriculum already integrated throughout the Professional Photography Program. Students will develop a working knowledge base in key areas such as understanding the photographer’s market, creating a business plan, implementing methods of self-promotion and marketing tools. Pricing, estimates and invoicing for various photographic industries will also be discussed. This course is highly recommended for all second year students.

This intensive fine art theory course surveys the history of art since 1945. Students explore important movements from Modernism to Post-Modernism, including DADA, Bodyworks, Earthworks and other mixedmedia approaches. Through slide lectures, short films and intensive readings, the course measures the changing impetus of culture through art, looking not just at photography, but also painting, film, performance and installation art. The term will culminate in a visual/lecture presentation on a featured artist of the student’s choosing. This course is offered as an elective to all second-year students.

Online Portfolio & Electronic Marketing—3 units In the digital age, a photographer’s website is his/her primary marketing tool. This course provides students with a valuable head start prior to entering the job market, building a professional website of their coursework using an effective, subscription-based web template.

Weekly lectures will support design choices and effective business tactics, including such concepts as effective home page design, dynamic image galleries, a polished biography, contact pages and blogs. Students will also learn how their sites’ integrated search engine optimization (SEO) and analytics put their work in front of potential clients.

Once websites are completed, the focus of the course will turn to the underlying fundamentals necessary in developing a successful electronic marketing strategy.

Students will learn to use social media and social marketing to present their marketing campaigns to a targeted client base.

Business & Marketing for Weddings—3 units This intense course provides students with the business and marketing skills specific to the wedding photography industry. Guest lectures and studio visits offer different approaches to running a successful wedding photography business. From consultations, contracts and pricing to self-promotion, marketing and a live mock wedding, students will leave the class with the necessary tools to market themselves in the wedding industry. This course is offered as an elective to all second-year students.

Advanced Darkroom— 3 units Advanced Darkroom is offered as a deeper exploration of the black & white photographic medium. Students will strengthen their understanding of exposure, development techniques and darkroom printing skills while being challenged to acquire new skills. The focus of the class is aimed at expanding artistic control of the fine art print. Students may continue to work in small format but are encouraged to explore medium and large format possibilities. This course is suitable for students in the Fine Art major as well as any darkroom enthusiast looking to expand upon their darkroom skills.

Skills Portfolio I— 3 units This course is required for all students.

Throughout this course, students will take their Photoshop abilities to a new level, mastering skills introduced in the first year of our Professional Program. We will focus on developing techniques used for a variety of post-production effects with wide reaching commercial applications, with an emphasis on photo retouching and restoration. Classroom time is spent on the computer with hands-on step-by-step instruction and skill building exercises. At the end of the term, each student will have completed a professional quality skills-based portfolio suitable for procuring entry level post production work.

Skills Portfolio II— 3 units A continuation of Skills Portfolio I, this course introduces creative applications of Photoshop, with assignments aimed at challenging students to combine imagination and new skills in order to solve conceptual problems.

Over the course of the term, students will consider how aesthetics, creative intent and technical execution play pivotal roles in developing style. Class work includes hands-on instruction of advanced Photoshop features such as RGB channels for tricolor effects, alpha channels, luminosity masks and displacement maps. At the end of the term, each student will have completed a portfolio of creative conceptual pieces suitable for procuring commercial editorial and advertising freelance work.

CHANCES ARE, YOU WILL GET TO KNOW MOST OF YOUR CLASSMATES AND FORGE CLOSE Photo Illustration— 3 units This course focuses on the creation of digital illustrations through the use of Photoshop and various photographic methods and materials.

Students are encouraged to think like painters and sculptors as they merge and manipulate photographs in order to creative provocative digital imagery. Throughout the course, students will complete a cohesive personal project that demonstrates technical skills while also showcasing an evolving personal style.

This course is suitable for students in the Fine Art Major interested in digital imaging as well as all Commercial Majors looking to add unique pieces to their portfolios.

FRIENDSHIPS AND COLLABORATIVE RELATIONSHIPS WITH STUDENTS, FACULTY AND STAFF. IT IS HOW WE CREATE A NURTURING ENVIRONMENT THAT MANY REFER TO AS THE NESOP FAMILY—THE PERFECT PLACE TO ADVANCE YOUR TECHNICAL TRAINING, DEVELOP YOUR PERSONAL VISION AND BECOME A PROFESSIONAL PHOTOGRAPHER.

PORTFOLIO REVIEW Year two of the Professional Photography Program ends in individual student portfolio reviews. Portfolio review is a time dedicated to you in which you must present and defend your professional portfolio to the second-year faculty.

You must have your résumé, business card and promotional materials ready, website running and a portfolio (of typically 20 images representing your major and 10 images representing your minor) displayed for faculty viewing, in-depth questioning and critique. To graduate, your portfolio must be accepted by at least a two-thirds vote of the second-year faculty present at the review.

Your success in the Professional Photography Program does not guarantee success at portfolio review. That is why portfolio review is so critical and beneficial to you—and ultimately, your future clients.

NESOP alumna, Meredith Carlisle, recalls her portfolio review as, “...one of the most exciting and stressful periods of time for me at NESOP. It was the culmination of my two years of learning compressed into a presentation to the entire second-year faculty. I received intense feedback, and I felt that the faculty was incredibly focused and helpful—even the instructors outside my major and minor. In addition to critiquing my work, they pointed out other photographers I might research for further direction and continued growth.”

The week of portfolio reviews and those preceding it are charged with excitement and emotion. This is essentially your final assignment—the one that your two years of study have been leading up to, and one that determines whether or not you will graduate.

Portfolio review is very different from the group and individual critiques you receive throughout your NESOP education. When you present your work and yourself for the first time as a professional photographer, you take away job interview skills, new and focused criticism of your work and areas for continued exploration and development. Most important, you come away with the confidence of knowing you can produce and defend a portfolio that experienced professionals find competitive.

“ AS I LOOKED AT OTHER SCHOOLS, I WAS SEEING STUDENT WORK THAT LOOKED LIKE ‘STUDENT WORK.’ BUT, WHEN I FOUND NESOP, I FOUND STUDENTS MAKING WORK THAT LOOKED LIKE IT BELONGED ON MAGAZINE COVERS AND IN ADVERTISEMENTS AND MUSEUMS... AS A GRADUATE, I KNOW THE GREAT IMAGES REFLECT THE HIGH QUALITY OF THE [NESOP] EDUCATION.”

Capt Gregory Perko U.S. Air Force, NESOP Alumnus, Advertising and Portraiture Freelance Photographer

FACU LT Y

BIO GR A PH I E S

The NESOP faculty is composed of men and women of exceptional interests, talents and backgrounds. Their work is widely exhibited and published. They are working professionals taking time from their studios to share their experience, technical skills and business practices. This diverse, talented faculty makes for a truly rich educational resource.

Erin Carey A Boston-based artist, curator and writer; Erin Carey completed her B.A. in Art History and Photography from Sarah Lawrence College and her M.F.A. in Studio Arts from The School of the Museum of Fine Arts, Boston. Before becoming an educator, Erin worked as a Museum Preparator at the Addison Gallery of American Art in Andover, MA. Her photographic works predominantly focus on place, investigating the changing cultural landscape of man, including her most recent project Tree Hunting. She continues to work with medium and large format analog materials and is committed to the craft. She has been exhibited in Boston and New York and also dedicates significant energies to curating. Erin has been the Director of NESOP’s Garner Center for Photographic Exhibitions since 2009. In addition, she is a regular guest reviewer, lecturer, juror and panelist for the likes of The Griffin Museum of Photography, The PRC Boston, and various metro Boston-based photo clubs. To see Erin’s work, go to: www.erin-carey.com

Caleb Cole Caleb graduated from Indiana University with a B.A. in Gender Studies and Sociology before graduating from NESOP with concentrations in fine art color photography and creative imaging. He is a 2015 Massachusetts Cultural Council Fellow, 2013 Hearst 8x10 Biennial Winner, 2013 and 2010 Magenta Foundation Flash Forward Winner, 2011 St. Botolph Club Foundation Emerging Artist Grantee, 2009 Artadia Award winner, and a 2009 Photolucida Critical Mass Top 50 Finalist. He regularly exhibits nationally; recent exhibitions include Character Study at the deCordova Museum and Blue Boys at Gallery Kayafas, where he is represented. To see Caleb’s work, go to www.calebcolephoto.com

Glen Cooper Glen earned his B.S. in Business Administration from Boston University and is an admitted “news junkie.” A motivation to communicate people’s stories visually and make a positive impact on society helped fuel Glen’s passion for photography. He earned his M.S. in Journalism from Boston University, before becoming a professor in the university’s College of Communications. Glen has served as photo editor for the Boston Metro and as chief visual journalist at BostonNOW. In 2005, Glen was named an International Award Winning Wedding Photojournalist by the Wedding Photojournalist Association. He remains a devoted freelance photojournalist whose work is regularly published. Glen has appeared in several periodicals and articles including the Boston Herald, Marie Claire, Brides Magazine, The Blueprint: How the New England Patriots Beat the System to Become the NFL’s Last Great Superpower, Le Figaro and the MassEquality book on gay marriage. To see Glen’s work, go to: www.glencooperphoto.com

Ronald Cowie Ron earned his B.S. in Anthropology from the University of Cincinnati and graduated from NESOP in 1998 with concentrations in editorial and advertising photography. Ron’s work has appeared in a variety of publications including Rhode Island Monthly, and his clients include Estée Lauder, Bryant University and Blue Cross Blue Shield. His love of history drives his work in alternative and historical process photography—a subject on which he has taught and guest lectured for years. Ron’s work is widely exhibited. His exhibitions have included Maldeen shown at the Wolfe Gallery in Toledo; Leaving Babylon shown in the Photo-Eye Showcase in Santa Fe; and Place in the Central Gallery in Old Saybrook, CT. To see Ronald’s work, go to: www.roncowiephoto.com

Bruno Debas After completing his photographic studies at NESOP in 1984 with a concentration in advertising photography, Bruno Debas returned to his home in Paris, France, where he began his professional career assisting for and studying with some of the city’s top working fashion, lifestyle and car photographers. Upon his return to the United States, Bruno launched his commercial photography studio and has served many national and international clients in the field of banking, healthcare and education. A passionate photographer and filmmaker, Bruno constantly seeks to learn and broaden the scope of his work both artistically and commercially. To see Bruno’s work, go to: www.brunodebas.com

17

Bill Franson William Franson has studied and been involved in art since childhood. He studied photography at the Art Institute of Boston, The Center for Photography in Woodstock, New York, the International Center for Photography in Manhattan, and earned a B.A. in Philosophy from Calvin College in Michigan. A self-employed editorial/corporate and fine art photographer, Bill has worked for many of Boston’s medical institutions including: Harvard Medical School, the Department of Ambulatory Care and Prevention, Massachusetts General Hospital, Dana Farber Cancer Institute, and Children’s Hospital. His list of exhibitions is extensive with work shown in numerous galleries, including: the Flash Forward Festival, Boston; the Lamont Gallery at Philips Exeter Academy; Center Art Gallery at Calvin College; the Danforth Museum of Art in Framingham, MA; the Center for Photography at Woodstock in NY; the Ashford Warburg Gallery in NY; and the Firehouse Gallery in Newburyport, MA. Bill’s work has been recognized by the Danforth Museum for excellence in the New England Region and he has earned numerous awards from the Texas Photographic Society National Competition and participated in several statewide traveling exhibitions there. Bill’s work resides in both institutional and private collections and he is currently represented by Panopticon Gallery, one of the oldest galleries dedicated to fine art photography in Boston.

Frank Herzog With a B.S. in Psychology and Philosophy from Houghton College, an M.B.A. from Babson College and several years of experience in photography and consulting, Frank’s background spans the two worlds of photography and business. He worked in global finance and managed several companies before entering into the professional photography field. Today, Frank is active in teaching the business aspect of photography to students and working professionals. He is one of the select business instructors for the Professional Photographers of America, mentoring and lecturing on marketing and business plans across the U.S. To see Frank’s work, go to: www.frankherzog.com

Michael Hintlian Michael Hintlian is a full-time documentary photographer based in Boston. His work has appeared in major U.S. dailies and international periodicals, and has been widely exhibited and collected. Hintlian received his B.F.A. from the School of the Museum of Fine Arts, Boston and Tufts University and his M.B.A. from Cornell University. His photo-documentary of the Central Artery/Tunnel Project in Boston (the Big Dig) titled Digging: The Workers of Boston’s Big Dig (Commonwealth Editions) was published in 2004. He is currently at work on major projects in the United States and travels extensively. Hintlian has served on the faculties of The School of the Museum of Fine Arts, Boston, The New School for Social Research and Parsons School of Design, New York.

Currently, he teaches Documentary Photography at New England School of Photography in Boston. A challenging instructor, his students have gone on to win prestigious awards including participation in the Eddie Adams Workshop. Michael is a photographer with a lifelong commitment to the medium. To see Michael’s work, go to: www.hintlian.com

Sue Anne Hodges Sue Anne has studied art and photography and graduated from NESOP before beginning a career in advertising photography. Since 1992, Sue Anne has been exploring and using digital cameras and digital imaging technology. She studied this technology at the Center for Creative Imaging in Camden, Maine. Digital images from her early experiments have been included in Kodak’s publication, International Photography, and one of the first exhibits of digital imaging—“L’Épreuve Numérique”—at the Centre National de la Photographie, Palais de Tokyo, Paris. For 15 years, Sue Anne shot and supervised photography for a major retail advertising studio. In 1995, she opened her own studio where she continued to shoot for major retailers and other commercial clients. Clients have included: Lechmere, Bradlees, Staples, KitchenEtc, Glen Group Marketing, and more. In recent years, her work has expanded to include a variety of projects including work for The Cultural Landscape Foundation, Down East Magazine, Bar Harbor Chamber of Commerce, and clients in the travel industry. Sue Anne’s personal work has been widely exhibited; she is currently represented by Redfield Artisans Gallery in Northeast Harbor, Maine. Sue Anne shares both her technical knowledge and her passion for the creative process with her students. In 1994, she helped open NESOP’s first digital imaging lab and remains a specialist in Adobe Photoshop and Lightroom. In 2011 and 2012 Sue Anne was honored to be one of 20 educators in the country to be invited by Adobe to the Adobe Educators Summit. To see Sue Anne’s work, go to: www.sueannehodges.com

Nick Johnson Nick Johnson has been a fine art photographer for over thirty years and has taught at NESOP for over twenty.

Represented by the Focus Gallery in Cohasset, Massachusetts, Nick maintains an extensive exhibition record which includes pieces in the permanent collections of the Danforth and Fitchburg Art Museums and Penn State College. His work has appeared in Black & White magazine and has been reviewed by Art New England. Nick is also the co-owner of Gallery Seven in Maynard, MA. In his personal work, Nick enjoys working with the large format camera. In his teaching, Nick emphasizes the Zone System and the creative freedom that comes with a high level of technical skill.

Adam Krauth A Massachusetts native and NESOP alumnus, Adam is the owner of Krauth Photo, a commercial photography studio. His client list includes J. Jill, Chamilia (a Swarovski Brand), HomeGoods and Boston Magazine. He also works in digital post production and retouching on national and international campaigns with companies such as Reebok, Titleist, and Otter Box. He was honored to be a featured artist in the 51st annual Communication Arts Photo Annual. Adam is in high demand, but enjoys taking time from shooting to lend his expertise in the NESOP classroom. To see Adam’s work, go to: www.krauthphoto.com

18

FACU LT Y

BIO GR A PH I E S Laura Pineda Laura earned her B.A. in Photography and Women’s Studies from Antioch College, before attending NESOP and graduating with honors in portraiture. Laura is the owner of Alternate Angles, a nationally known wedding and portrait business in Newport, RI. Alternate Angles has become a dominating force in the industry, with work and interviews appearing in numerous publications, including Grace Ormonde Wedding Style, Southern New England Weddings, Destination Weddings and Honeymoons, Destination I Do, Photo District News, Wedding Bells, Elegant Wedding, The Knot, Gala Weddings, The Learning Channel‘s A Wedding Story, Newport Life, Rangefinder, Professional Photographer, PDN, Studio Photography and Shutterbug. Winner of countless local and national photographic awards, Laura has become a sought after voice in the wedding industry and is a leader in the market. She is a member of several national wedding and portrait organizations, which keeps her abreast of ongoing change and growth in the industry. She remains true to her passion—documenting the wedding story and sharing her knowledge and expertise with students.

To see Laura’s work, go to: www.alternateangles.com

Shawn Read Shawn graduated from the University of Florida with a B.A. in English Literature and lived abroad for over a decade before returning to the States to earn a Certificate in Photography from Boston University’s Center for Digital Imaging Arts. Shawn is a freelance photographer specializing in editorial and corporate photography as well as multimedia projects under his grandfather’s studio name, L.B. Read. Shawn’s work has appeared in such publications as Asian Boston Magazine and Bay State Parent and his client list includes The Japanese Ministry of Fisheries, Dynatrace, TJX and Google. To see Shawn’s work, go to: www.lb-read.com

Stephen Sheffield A native of the Boston area, Stephen is an alumnus of Cornell University, where he earned a B.F.A. in Painting with a minor in Photography. He received his M.F.A. in Photography from the California College of the Arts. His work varies between a unique style of straight photography, alternative processes, mural printing and large-scale photomontage. Stephen’s combined use of these processes brings to his work a painterly feeling not usually associated with photography. Stephen has exhibited nationally for many years and has a number of large scale commissions in Boston and New York. His work has been featured in various publications such as Money, The Harvard Review, Better Homes and Gardens, Boston Globe Magazine, Entertainment Weekly, Computerworld and Smart Money. To see Stephen’s work, go to: www.stephensheffield.com

Dana Smith As one of Boston’s leading editorial photographers for over 20 years, Dana Smith has shot for and worked with many of the top photo editors and art directors in the magazine industry. Widely published both nationally and abroad, his images have appeared in publications such as The New York Times Magazine, Forbes, Fortune, Barron’s, The Wall Street Journal, Sports Illustrated, Time, Stern, Le Monde, Der Spiegel, Fast Company, MIT’s Technology Review, Nature, Harvard Business Review, Boston and Yankee. His client list also includes Boston College, Boston University, Brown University, Dartmouth College, Northeastern University, Greater Media, Inc., and Virgin. He has been showcased in American Photography as well as numerous galleries. In addition to his vast editorial background, he has the daily grind of 10 years of newspaper photojournalism experience behind him. Dana has been an instructor at the New England School of Photography since 1999. He was affiliated with the legendary Black Star agency in New York for 15 years and is now represented by Aurora/Novus Select. To see Dana’s work, go to: www.danasmithphotography.com

Chris Vaccaro Chris earned his B.F.A. in Commercial Illustration Photography from Rochester Institute of Technology in 1987. In the years that followed, he worked as a studio manager and assistant for some of the top photographers in NYC. In 1989 he moved to the studio manager position at the Maine Photographic Workshops. From there, he ultimately helped to launch the Santa Fe Photographic Workshops as the studio manager in 1990. In 1993, Chris opened his own commercial studio in Rhode Island, landing major accounts with Swarovski Crystal, Wenger Swiss Army and Rhode Island Monthly Magazine as well as other regional and national publications.

Over 20 years later, Chris continues to run his commercial photography studio in Pawtucket, Rhode Island photographing everything from products, food and people to fashion and architecture. To see Chris’ work, go to: www.chrisvaccarophoto.com

Keitaro Yoshioka Keitaro holds a B.A. from Seikei University in Tokyo and M.F.A. Photography from the School of the Museum of Fine Arts and Tufts University. Keitaro started his professional photography career as the lead photographer of the Polaroid 40” x 80” room size camera studio at the Museum of Fine Arts, Boston. As owner of his own commercial studio since 1997, he has worked for clients such as Cisco Systems, Lotus, IBM, Microsoft, Proctor & Gamble and Segway. In addition to being a member of the NESOP faculty, Keitaro also teaches at the Massachusetts College of Art and the Boston Architectural College and is an international award winning photographer. To see Keitaro’s work, go to: www.yoshiokafoto.com

19

A DM I N I S T R AT ION

A N D STA FF

Administration

Facilities

William R. Carruthers Owner, CEO and President

Arlton D. Figuerido Director of Facilities

Alison B. Geehan Vice President

Alyson Mathias Facilities Staff Manager

Erin Carey Academic Director

Michael Stanchi Photographic Systems Manager

Nicolette Pinnock Director of Financial Aid Eileen Clynes Director of Student Services David M. Katz Director of Admissions and Recruiting

The Garner Center at NESOP Erin Carey Director of Photographic Exhibitions

Sue Anne Hodges Director of Digital Imaging Department Abigail McCarthy Business Office Manager Julie Drummey Social Media & Public Relations Manager Anthony Sahadeo Special Projects Administrator Laura Knapp Registrar & Assistant to the Academic Director

20

APPLYING TO NESOP Admission Requirements Admission to NESOP’s Professional Photography Program is based on evaluation of the candidate’s Application for Admission, school transcript and a personal interview. Prior photographic experience is not required, but NESOP does weigh the seriousness of intent and aptitude of the candidate for admission. Candidates must be at least 17 years of age and have earned a high school/home school diploma or G.E.D, HiSET or applicable High School Equivalency Certificate. If an international student, the equivalent of a U.S. high school diploma or college/university degree must be submitted to the school. Applicants with extensive educational or professional experience in photography may be eligible for advanced placement in the program. This will be determined by the Academic Director on a case-by-case basis, after the applicant has been accepted into the program. Further information regarding potential advanced placement and the steps required for this process may be obtained from a school admissions representative. If you need further information or have any questions concerning entrance requirements, contact the school’s admissions department.

Admission Procedures 1. F ill out the Admission Application completely. Admission Applications are available in paper form (included within this catalog) and online at NESOP’s website, www.nesop.edu.

2. If submitting a paper Admission Application: Sign and date the application and mail it, with a non-refundable $25.00 application fee (payable by cash, check, money order or credit/debit card—please do not mail cash) to: New England School of Photography Admissions Department 537 Commonwealth Avenue Boston, Massachusetts 02215 Note: Paper application fees paid by credit card or debit card must be accompanied by a completed credit card/debit card authorization form. This form is attached to the Admission Application.

If submitting an online application: You must provide your electronic signature (e-sign) on the application and click to submit. A non-refundable $25.00 application fee will be required when submitting your application; the fee is payable online by credit/debit card. Your online application and payment will be submitted to: admissions@nesop.edu New England School of Photography Admissions Department 537 Commonwealth Avenue Boston, MA 02215 3. M ake arrangements to have a complete, official high school/home school grade transcript, G.E.D., HiSET or applicable High School Equivalency Certificate or complete, official college transcript sent to NESOP. If a complete, official high school transcript is submitted with the application, it must include the date of your graduation and must be an original from the awarding institution. If a complete, official college transcript is submitted with the application, it must indicate the degree earned, must include the date of your graduation and must be an original from the awarding institution. Partial college transcripts are not accepted.

4. Upon receipt of your application materials, the school will contact you to arrange a personal interview or make other arrangements (such as a telephone interview) if the interview cannot be held in person.

5. After all application materials are received and the personal interview completed, you will be notified of the Academic Director’s decision by mail.

6. Accepted applicants must sign an Enrollment Agreement and make a $500.00 tuition deposit.

21

E V E RY T HIN G YO U NEE D T O KN O W

Admission Procedures for International Students

Transfer of Credit Policy

1. International applicants must supply the following documents:

NESOP will accept transfer students into its program, accepting credit for courses completed at other institutions when they are comparable in scope and content to those in the full-time Professional Photography Program. An applicant seeking a transfer of credit must supply a complete transcript from their previous institution, their previous institution’s course descriptions for courses for which they seek transfer credit and, when appropriate, a portfolio of ten (10) images demonstrating their knowledge in the specific area of photography taught in the course. The applicant must meet with the Academic Director to discuss their knowledge of the subject matter and the quality of the images in their portfolio (if applicable). It is the sole discretion of the Academic Director to determine if the applicant demonstrates competency in the coursework and if a transfer of credit is accepted.

a. Completed, signed and dated Admission Application.

Admission Applications are available in paper form (included within this catalog) and online at NESOP’s website, www.nesop.edu. i. I f submitting a paper Admission Application, all documents should be sent, with a nonrefundable $25.00 application fee (payable by cash, check, money order or credit/debit card—please do not mail cash) to: New England School of Photography Admissions Department 537 Commonwealth Avenue Boston, Massachusetts 02215 USA Note: Paper application fees paid by credit card or debit card must be accompanied by a completed credit card/debit card authorization form. This form is attached to the Admission Application.

ii. If submitting an online application: You must provide your electronic signature (e-sign) on the application and click to submit. A non-refundable $25.00 application fee will be required when submitting your application; the fee is payable online by credit/debit card. Your online application and payment will be submitted to: admissions@nesop.edu New England School of Photography Admissions Department 537 Commonwealth Avenue Boston, MA 02215 b. A document certifying the applicant’s ability to meet the financial costs of tuition, photo supplies, equipment and living expenses. c. A school or test certification of the ability to speak and understand the English language. d. Complete, official transcripts, translated to English.

The transcript(s) must indicate a level of education equivalent to a U.S. high school diploma or college/ university degree. Your official transcript must include the date of your graduation and must be an original from the awarding institution. Partial college/university transcripts are not accepted. e. A photocopy of your high school diploma or college/ university degree. f. A photocopy of your passport and/or national identification card.

2. Upon receipt of your application materials, the school will contact you to arrange an interview. Though a personal interview is preferable, telephone interviews are common for international students and are acceptable.

3. A fter all application materials have been received and the admissions interview is complete, you will be notified of the Academic Director’s decision by mail.

4. Accepted applicants must sign an Enrollment Agreement and make a $500.00 tuition deposit.

5. U pon receipt of the tuition deposit and Enrollment Agreement, the school will forward a U.S. Immigration Form I-20M-N to you, permitting entrance to the U.S. as a student.

6. As an international student, you MUST have all enrollment paperwork (i.e., tuition deposit and Enrollment Agreement) completed and into the school no later than three months prior to the start date of the program for which you are enrolling.

Regardless of previous education and transfer of credit(s), a minimum of 25% of the units required for successful completion of the full-time Professional Photography Program must be completed at New England School of Photography.

Educational Objective of the Professional Photography Program The educational objective of the Professional Photography Program at New England School of Photography is to produce professional photographers. NESOP is dedicated to providing the best possible technical/aesthetic/ business photographic training in the following: Major Areas:

:: Advertising and Commercial Photography :: Architectural Photography :: Documentary Photography :: Editorial and Corporate Photography :: Fine Art Photography :: Portraiture and Wedding Photography :: Visual Journalism Minor Areas:

:: Fashion Photography :: Advertising and Commercial Photography :: Architectural Photography :: Documentary Photography :: Editorial and Corporate Photography :: Fine Art Photography :: Portraiture and Wedding Photography :: Visual Journalism This quality of training is achieved in a number of ways: :: R egularly updating course syllabi to ensure that course content and information is up-to-date with current photographic practices in each Major and Minor concentration :: Employing teaching faculty that are working in their area of photographic expertise :: E nsuring that the equipment used in training is industry standard and actively used in the photographic field :: F ostering a real caring and concern by the administration, faculty and staff for the success of each student in the program Upon successful completion of the Professional Photography Program, graduates will have the knowledge and experience to gain, at a minimum, an entry level position in their areas of Major study. Many of our students start their own photographic businesses or freelance to compete with established professionals in their field.

Clock Hour and Maximum Completion Time Requirement To successfully complete the two-year Professional Photography Program at New England School of Photography, a student must complete a minimum of 1,620 clock hours and have earned a minimum of 92 class units as well as a minimum of 26-35 lab units. The minimum lab unit requirement is dependent upon the number of class units completed. Each year of the Professional Photography Program is 30 instructional weeks in length, for a program total of 60 instructional weeks. To be awarded the Professional Photography Program Diploma, students are required to complete a combination of 27 hours of instruction and lab time per week, making a total of 810 hours per year and 1,620 hours over two years. Darkrooms and studios at NESOP are open to full-time students 8:00 a.m. to 9:30 p.m. Sunday through Friday and 8:00 a.m. to 5:30 p.m. on Saturday.

Class Time: One clock hour is a period of 60 minutes with a minimum of 50 minutes of instruction.

Lab Time: One clock hour is a period of 60 minutes.

Students must complete their required two-year, 1,620 clock hour course of study within 150% of the program length, defined here as nine (9) ten-week (10-week) terms.

Grading System The student earns a designated number of units upon successful completion of a course. This system is compatible with other institutions of higher learning. This allows flexibility within the academic structure of the school and facilitates the transfer of information to other schools for students desiring to further their education.

New England School of Photography uses a letter grading system to evaluate all students’ work. Each letter grade is assigned a grade point that is used in combination with unit value to determine an overall level of performance.

The grading system is as follows: Grade

Description

A Excellent A- B+ B Above Average B- C+ C Average C- D+ D Below Average D- F Failure I* Incomplete W* Withdrawal before term deadline

Points

4.0 3.7 3.3 3.0 2.7 2.3 2.0 1.7 1.3 1.0 0.7 0.0 0.0 0.0

*Neither grade is used to figure GPA. Grade Point Average (GPA): Each grade is converted to points as listed above. The course clock hours, multiplied by the grade’s point value, constitutes the points earned for the course. To find the grade point average, add the points earned for all courses and divide that figure by the total number of clock hours for all courses. For the purpose of calculating GPA, required lab hours are treated as course clock hours.

The grades and grade point average become a part of the student’s permanent record.

Housing Although the New England School of Photography does not provide housing facilities, there are many apartments near NESOP and throughout the Greater Boston area. NESOP recommends looking for accommodations along the MBTA, Boston’s public transit system. Boston expects more than 300,000 students every fall due to its large number of colleges and universities. Most school schedules start in September; this means that apartments begin to fill early. We recommend making arrangements early—September 1st is known as “The Big Move.” The school will put incoming students in touch with other students who are seeking roommates in an effort to facilitate this process at the student’s request. There are a number of services in the Boston area dedicated to finding accommodations for anyone in need of housing, and NESOP is happy to work with students during the admissions process to familiarize them with these services.

Student Advising and Guidance Services Throughout the year, there will be several advising and guidance sessions to inform the student body of curriculum or policy changes and to answer any questions or concerns that students may have. These sessions are offered both individually and as informal group student meetings. Any time students are in need of vocational or academic guidance or require extra help in their courses, they are encouraged to make appointments with the Academic Director or Director of Student Services to discuss their concerns and/or make arrangements to address and move through their specific academic challenges. All faculty, staff and administration are willing to help in any way needed. NESOP encourages all students to make full use of this service.

Personal Property A student, by registering at the School, releases and discharges the School from any liability or claim of liability for any damage to or loss of personal property, including work left in studios or for exhibitions. All photographic equipment should be properly insured by the student prior to starting classes.

Financial Aid

Financial Aid Assistance The New England School of Photography offers financial aid to qualified applicants. Financial aid is awarded through the federal Title IV and Massachusetts State Student Financial Aid Programs. All financial aid is contingent upon completion of all financial aid requirements, full time enrollment and satisfactory academic progress as defined by the NESOP Professional Photography Program Handbook.

How to Apply All potential applicants may apply for financial aid by completing the Free Application for Federal Student Aid (FAFSA) online at www.fafsa.ed.gov. The deadline for completion of this application is ongoing. It is highly recommended that all financial aid applicants complete their FAFSA applications concurrently with their Admissions Applications.

Financial Aid Programs NESOP participates in the following federal and Massachusetts state programs: Federal Pell Grant Program, Federal Supplemental Educational Opportunity Grant Program (SEOG), William D. Ford Federal Direct Loan Program (Subsidized Direct Stafford Loan, Unsubsidized Direct Stafford Loan and the Direct PLUS Loan), Massachusetts GEAR UP Scholarship and the MASSGrant Program. For detailed information on the financial aid programs at NESOP, please call the financial aid office to request a Financial Aid Information Packet. This packet includes an overview of the entire financial aid process, the appropriate FAFSA form and detailed descriptions of the individual programs offered.

Federal Title IV Financial Aid Programs at NESOP Federal Pell Grant: This federally funded program provides

grants to eligible undergraduate students. Significant financial need is the basis for Pell Grant eligibility. Financial Aid Pell Grant Awards are based on the information provided in the financial aid application.

Federal Supplemental Educational Opportunity Grant (SEOG): Recipients of this federally and institutionally

funded grant are selected by the Office of Financial Aid at NESOP. Significant financial need is the basis for SEOG eligibility. The federal maximum SEOG award is based upon federal allocations and changes annually.

William D. Ford Federal Direct Loan Program:

Subsidized and Unsubsidized Direct Stafford Loans and the Direct PLUS (Parent Loan for Undergraduate Students) Loan are available through the NESOP Office of Financial Aid to all students who meet eligibility requirements. Eligibility for Subsidized Direct Stafford and Unsubsidized Direct Stafford loans is based on the information reported on the Free Application for Federal Student Aid (FAFSA).

No interest is charged on Subsidized Direct Stafford loans while a student borrower is in school at least half-time, for a grace period of six months after a student leaves school and, when a borrower qualifies, during deferment periods.

Depending on financial need and aggregate borrowing limits, a student may borrow up to the annual student loan borrowing limit for his/her year in school.

Interest is charged on Unsubsidized Direct Stafford Loans during all periods and is the sole responsibility of the borrower.

Independent undergraduate students, dependent students whose parents have been denied for a Direct PLUS loan or dependent students without demonstrated financial need may qualify for an Unsubsidized Direct Stafford Loan. Yearly borrowing limits do apply.

Direct PLUS Loans are low-interest loans available to parents of dependent students and to graduate and professional degree students. Interest is charged during all periods. All PLUS loan applicants must pass a credit check. PLUS Loan eligibility will be indicated on student Financial Aid Award Letters. PLUS loans are the sole responsibility of the parent borrower.

Massachusetts State Aid Programs at NESOP Massachusetts Grant: The State of Massachusetts

determines MassGrant eligibility and award amount.

GEAR UP: This scholarship is offered by the state as a result of

The Higher Education Amendments of 1998—a national effort to encourage more young people to have high expectations, stay in school, study hard and go to college. To be eligible, the student must have participated in the Early Intervention component of GEAR UP Massachusetts. The award amount is based on the student’s enrollment status.

The Office of Financial Aid at NESOP determines the amount of the award based upon need, yearly awarding limits and lifetime borrowing limits. All recipients of Massachusetts state funds must be residents of the state of Massachusetts for at least twelve months prior to the start of the academic year for which financial aid is awarded. Residency for that year must be for a reason other than academic purposes.

22

APPLYING TO NESOP In addition to the programs offered above, NESOP has created an institutional scholarship designed to support enrolled U.S. Veterans: The NESOP GI Scholarship: NESOP will award any

Veteran attending NESOP on the GI Bill an additional $1,000.00 in scholarship funding during each of the two academic years required for completion of the Professional Photography Program (for a maximum award of $2,000.00).

Offered to first and second year students, this scholarship will be processed as a credit to the student’s account. Veteran students wishing to apply for this scholarship must show proof of their Veteran status by submitting a complete, valid Form DD214 to the Office of Financial Aid. NESOP accepts all private loans where NESOP is an eligible school with the lender, and NESOP’s financial aid office will help students in researching their educational financing options. For information regarding the school’s financial aid refund policy, including Title IV, Massachusetts State Aid, Veteran’s Administration or other applicable third party funding source refund policies, please visit or call our Office of Financial Aid at (617) 437-1868. Our offices are open Monday through Friday, 9:00 a.m. to 5:00 p.m.

Graduation Requirements The following requirements must be met in order for a student to be awarded a diploma and become eligible for the school’s career services as an alumnus: 1. E arn a minimum of 127 units, comprising a minimum of 92 class units as well as a minimum of 26-35 lab units.

2. Obtain a minimum grade point average of 2.0 overall, as well as a minimum grade point average of 2.0 in the chosen Major and Minor course sequences.

3. C omplete a Major course sequence in the second year. A Major sequence is one course concentration taken all three terms. A minimum of five (5) units must also be earned each term in a photo course other than the Major.

4. Complete a Minor course sequence in the second year. A Minor course sequence must be taken for at least two terms, one of which must be in the third term. If the student chooses to minor in a course offered as a Major, he/she must take that Minor course concentration all three terms.

5. C omplete the Lab component of each term with a grade of D or better.

6. Attend the CrossCurrents seminar series during the second year.

7. S ubmit, defend and have a professional portfolio of photographs accepted by the second year faculty. This portfolio must demonstrate to prospective employers the technical and creative abilities of the graduate.

Authorization New England School of Photography is: :: L icensed by the Massachusetts Division of Professional Licensure’s Office of Private Occupational School Education :: A ccredited by the Accrediting Commission of Career Schools and Colleges (ACCSC) :: N ESOP is approved for enrolling students under provisions of Title 38 (G.I. Bill). Veterans should contact their local VA representative or visit http://www.gibill.va.gov/ for application information. The VA school code for NESOP is 28059021.

23

E V E RY T HIN G YO U NEE D T O KN O W

Facilities

Advanced Facilities—Designed to Enable Exceptional Levels of Learning NESOP provides approximately 12,000 square feet of facilities set in a vibrant and convenient Boston location. Our facilities offer open bay and private studios, extensive digital imaging classrooms and labs, traditional classrooms and darkrooms, the Garner Center for Photographic Exhibitions and more.

NESOP stocks professional photographic equipment—you learn using the same equipment currently used in the industry and equipment and software you will use in your career.

Among the wide range of industry-standard gear, we offer cameras ranging from 35mm to 8x10, computers outfitted to meet the demands of today’s imaging industry, specialized lighting and a full range of modern imaging equipment to accommodate students’ needs. NESOP students work with a variety of cameras, lighting, darkroom equipment, computers and software for all applications—both commercial and fine art. Nikon, Canon, Apple, Adobe, Epson, Profoto, Photogenic, Manfrotto, Matthews, Chimera, Mole Richardson, Lowell, X-Rite, Cinevate, Tascam and Rodes are just some of the many brands students may use and be exposed to during their education at NESOP. Located at 537 Commonwealth Avenue, students will find the school’s stockroom fully equipped with industry standard, professional photographic equipment, private portrait studios and open bay studios that are adjustable/expandable to allow for use in product and tabletop assignments as well as portraits. The building also houses fully color-managed digital imaging classrooms and labs. These classrooms and labs are outfitted with Apple computers, Eizo monitors, a campuswide high-speed Internet connection and Epson printers.

Scanning areas offer film and flatbed scanners by Nikon and Epson, accommodating all film formats and print scanning. All machines are equipped with the most current version(s) of a variety of imaging software programs including the full Adobe Creative Cloud Suite (offering, among other applications, Photoshop, Lightroom, Premiere Pro, Dreamweaver, After Effects and InDesign). Apple’s Final Cut Pro X, Phase One’s Capture One Pro and Google’s Nik Collection softwares bring additional image editing tools to students. In addition, students have access to specialty equipment such as Epson large format printers. Classrooms and labs are equipped with color-correct viewing stations for printing. NESOP is proud of the fact, along with updating its facilities and equipment to offer the newest imaging technologies, we continue to offer facilities for traditional silver, historical and alternative processes; as such, students will also find within the facility private film processing rooms and gang darkrooms.

The School’s Student Media Support Lab is located on the third floor of 537 Commonwealth Ave, equipped with Apple computers and supporting peripherals for a variety of student uses. This lab exists to provide digital support including downloading, archiving, printing, and Internet access to all NESOP students. The NESOP campus offers high-speed Internet connection.

Policies and Procedures

Attendance and Tardiness Policy Attendance in class and lab is a vital and mandatory part of the educational process and is necessary to keep abreast of the information being presented. The Professional Photography Program is two years in length. Each year comprises 30 instructional weeks for a total program length of 60 weeks, and each student is required to complete 27 hours of instruction and supervised lab per week for a total of 810 hours per year. Class attendance will be taken at the beginning of each morning and afternoon session. Classes start at 9:00 a.m. and 1:00 p.m. (unless otherwise noted at registration). If a student arrives late to a five-unit (5-unit) class, he/she will be counted as absent for ¼ day. If a student arrives late to a class worth

fewer than five (5) units, he/she will be counted as absent for ½ day. Four ¼ day absences will be counted as one full day’s absence. Two ½ day absences will be counted as one full day’s absence. If a student arrives late to class, he/she will have to wait until the first break before entering the class. This is to ensure that the class in progress will not be interrupted. If a student is absent more than 30% of the course, he/she will receive an automatic grade of F and, if the class is a required course, may be dismissed from the school.

Lab attendance will be documented on the stockroom computer system through the use of each student’s I.D. Any time a student enters the school to use the facility, other than for class, he/she must check into the stockroom with his/her student I.D., and upon leaving the school, check out. Lab time will accumulate in the computer system. If students do not check in and out at the stockroom, they will not receive credit for their time(s) in the lab. Failure to document the required hours of lab attendance per week can lead to dismissal from the school. For an academic calendar, please refer to the Admission Application in this catalog.

Conduct Policy All students are expected to conduct themselves in a professional manner at all times. Failure to observe any of the General School Rules (see the NESOP Professional Photography Program Handbook) will be grounds for disciplinary action, which may include dismissal. Students have the right to be treated with respect and are expected to show faculty, staff, other students and equipment the same respect. New England School of Photography has a policy on drugs and alcohol that fully complies with the Federal Drug-Free Work Place Act of 1988 and the Drug-Free Schools and Communities Act Amendments of 1989. Smoking is banned from all school facilities.

Satisfactory Academic Progress/ Makeup Work/ Dismissal Policies Students must always maintain at least a 2.0 cumulative Grade Point Average (GPA). The minimum passing grade of D- is required for all required courses. Student GPAs are recalculated at the end of every term/payment period. This means that each student’s progress is reported three times per year and six times over the program.

NESOP instructors maintain individual student progress reports. Students have the right to request their progress reports and/or inquire about their individual academic progress at anytime during a course. NESOP provides all students with mid-term progress reports half-way through each term/ payment period and formal grade reports at the conclusion of each term/payment period. Mid-term progress reports are released three times per year and six times over the program. Each report shows individual assignment and class participation assessment, as well as commentary about the student’s progress through each course up to the mid-point (fifth week of the ten-week term). Formal grade reports are released at the end of every term/payment period, resulting in three times per year and six times over the program. These formal grade reports reflect individual term course grades, the term GPA and the student’s cumulative GPA. Pace measurement requirement: Students must complete their required two-year, 1,620 clock hour course of study within 150% of the program length. The program length is six (6) ten-week (10-week) terms. One-hundred fifty percent (150%) of the program length is nine (9) ten-week terms.

Satisfactory Academic Progress is defined as: 1. earning passing grades in all required courses AND 2. maintaining a minimum cumulative GPA of 2.0 AND 3. successfully achieving the pace measurement requirement Students with course work below the acceptable achievement level are considered to be on Academic Probation. Students

may be dismissed if they receive a grade of F in any required course. A student may receive a Notice of Academic Probation if his/her cumulative GPA drops below 2.0 and/or s/he is failing to meet the pace measurement requirement. Any student receiving an F or Notice of Academic Probation is also placed on Financial Aid Warning. Furthermore, any student with a cumulative grade point average of less than 2.0 is automatically placed on Financial Aid Warning. The student’s cumulative GPA must be at least 2.0 by the conclusion of the next term/payment period in order to receive subsequent Title IV (financial) aid. Failure to do so means dismissal from the program and loss of future Title IV (financial) aid eligibility.

A student placed on Academic Probation and Financial Aid Warning is notified in writing on the Notice of Academic Probation Form; the Notice of Academic Probation Form is distributed directly to the student via the main office at the school or mailed to his/her current mailing address on file with the school at the time the notice is generated. The form includes instructions on how a student can be removed from Academic Probation and Financial Aid Warning status. It is the student’s responsibility to follow through with instructions on the Notice of Academic Probation, correct the deficiency, and to work with the instructor to ensure timely completion and delivery of the grade change form to the Registrar.

Academic probation caused by insufficient lab hours can only be removed by makeup of the hour shortage.

Incomplete grades are only given to students for extenuating circumstances. Students then have five (5) weeks (deadline 5:00 p.m., Friday of the fifth week) into the next regular term to make up the work and receive a grade. Students not meeting this deadline will be dismissed from the school.

Students who have failed (a) required course(s) in the program (and thus been dismissed from the program) must retake the failed course(s) and earn (a) passing grade(s) in the course(s) in order to continue forward into the next term within the program. The school does not re-charge students to retake required courses in which they have received the grade of “F.” A grade of “F” means that the student does not earn the associated course clock hours and units; as such, when retaking a previously failed course, the associated course clock hours and units replace the original course clock hours and units so that they are only earned once and do not affect a student’s enrollment status.

NESOP does not accept transfer hours, units or credits into its Professional Photography Program.

Due to the structure of the Professional Photography Program, the school does not permit appeals to dismissals or SAP determinations as these determinations are not reversed.

Students who have been dismissed may reapply for admission.

(See Reinstatement Policy to follow.) A student shall be informed of his/her dismissal by the Academic Director in person or by registered mail, whichever is appropriate. All reasons for dismissal will be carefully explained at that time. Refunds of tuition monies for any student dismissed or withdrawn from the program will be made by the business office, within thirty (30) days, if applicable. This procedure is documented in the student’s permanent file.

If a student had been dismissed for failure to maintain Satisfactory Academic Progress (SAP), reapplies, and is readmitted to the program, the student’s SAP status carries forward for the purposes of determining financial aid eligibility. As a part of the readmission process, each student is provided an individual explanation of what is necessary to return to good standing for purposes of Title IV (financial) aid funding.

Reinstatement Policy For a student wishing to reapply to the program, a written statement (electronic communication or hard-copy formats are acceptable) requesting readmission and/or stating the

student’s intent to return to the Professional Photography Program is required.

a tour of the school facilities and inspection of the equipment and receive a refund of all monies paid.

If a student reapplies to the program more than two years since his/her matriculation in the program and/or if the program has had substantive content or structural changes since his/her matriculation in the program, the student may be required to reapply to the program as a “new” applicant.

Grounds for Cancellation/Termination by the School

Refund and Withdrawal Policy This policy applies to all periods of enrollment.

Refund Policy (as per M.G.L. Chapter 255, Section 13k)

1. You may terminate this agreement at any time.

2. If you terminate this agreement within five days you will receive a refund of all monies paid, provided that you have not commenced the program.

3. I f you subsequently terminate this agreement prior to the commencement of the program, you will receive a refund of all monies paid, less the actual reasonable administrative costs described in paragraph 7.

4. If you terminate this agreement during the first quarter of the program, you will receive a refund of at least seventyfive percent of the tuition, less the actual reasonable administrative costs described in paragraph 7.

5. I f you terminate this agreement during the second quarter of the program, you will receive a refund of at least fifty percent of the tuition, less the actual reasonable administrative costs described in paragraph 7.

6. If you terminate this agreement during the third quarter of the program, you will receive a refund of at least twentyfive percent of the tuition, less the actual reasonable administrative costs described in paragraph 7.

7. I f you terminate this agreement after the initial five day period, you will be responsible for actual reasonable administrative costs incurred by the school to enroll you and to process your application, which administrative costs shall not exceed fifty dollars or five percent of the contract price, whichever is less. A list of such administrative costs is attached hereto and made a part of this agreement.

8. If you wish to terminate this agreement, you must inform the school in writing of your termination, which will become effective on the day, such writing is mailed.

9. T he school is not obligated to provide any refund if you terminate this agreement during the fourth quarter of the program.

Administrative Costs Equal: $50.00.

All refunds will be processed and returned to the student within forty-five (45) days of the date of withdrawal, dismissal or termination in writing of this enrollment agreement (the “date of determination”).

In addition, any students receiving funds from Title IV programs are subject to the U.S. Department of Education’s Federal Return to Title IV (R2T4) policy. The return of your funds to Title IV is separate from any refund policy that your school may have. Therefore, you may still owe funds to the school to cover unpaid institutional charges. Returns of U.S. Department of Education’s Title IV funds will be processed and returned to the (applicable) Title IV programs within forty-five (45) days of the date of the school’s determination that the student withdrew or was dismissed from the program. All other monies paid by students to the school are subject to the Commonwealth of Massachusetts’ refund policy as stated above.

Applicants/Students who have not visited the school facility prior to enrollment will have the opportunity to withdraw without penalty within three (3) days following either attendance at a regularly scheduled orientation or following

The school may, at its discretion, terminate a student prior to completion for, but not limited to, insufficient academic progress, nonpayment of tuition or failure to comply with school rules.

New England School of Photography must identify a resource that students may contact to receive information regarding the tuition, fees and program length of comparable educational programs. This information may be obtained by contacting the following: Accrediting Commission of Career Schools and Colleges (ACCSC)

2101 Wilson Boulevard, Suite 302 Arlington, VA 22201 Telephone: (703) 247-4212 / Fax: (703) 247-4533

Student Complaint/Grievance Policy and Procedures New England School of Photography realizes that, from time to time, problems of many sorts will arise. The administration, faculty, staff and students work in unison to solve these problems. If, at any time, you feel there is a problem, please contact the appropriate personnel for assistance: Academic Issues:

All academic issues should be addressed directly with your instructor whenever possible. Instructors consult with the Academic Director regularly and work to achieve an exceptional learning environment, obtain help for students who need it and create a harmonious, supportive classroom experience. If your issue remains unresolved within seven days of speaking with your instructor or should you not feel comfortable speaking directly with your instructor regarding your academic issue, you may contact the Academic Director or Director of Student Services. If your issue is with your instructor, please contact the Academic Director. If, within fifteen days after filing your written complaint with the Academic Director or Director of Student Services, your issue remains unresolved, please contact the President of the school.

Administrative or Operational Issues:

All administrative and operational issues should be directed to the Vice President. If, within 21 days after filing your written complaint with the Vice President, your issue remains unresolved, you may direct your issue to the President.

Facilities, Stockroom or Equipment Issues:

All facilities, stockroom and equipment related issues should be directed to the Facilities Staff Manager or Photographic Systems Manager on duty. Any issue or concern with facilities, stockroom or digital lab staff should be brought to the attention of the Facilities Staff Manager. If, within fifteen days, your complaint remains unaddressed and/or unresolved, you may direct your issue to the Director of Facilities. If, within 21 days after originally filing your written complaint, it remains unresolved, you may direct your issue to the President.

All Other Issues:

Please contact the Vice President.

To file a formal complaint with the school, please submit your complaint in writing directly to the appropriate personnel listed above. You may drop off your written complaint in person or mail it into the school, addressing it to the attention of the appropriate individual noted above at: NESOP 537 Commonwealth Avenue Boston, MA 02215

24

APPLYING TO NESOP When your complaint is received, it will be reviewed by the individual to whom it was addressed. Please note that management consult regularly with one another and may work together to resolve a specific student issue. If appropriate or necessary, the student filing the complaint may be contacted for a meeting with the member of management responsible for resolving the complaint. Depending on the situation and the comfort level of the complainant, if the complaint involves another student or instructor, that student and/or instructor may be contacted by the member of management in an attempt to gather information, fully understand the issue, allow that student or instructor an opportunity to respond and present a reasonable solution for all involved. The school will make every effort to resolve your complaint within 30 days of its receipt.

Complainants will be contacted directly regarding resolutions to their complaints, unless it is more appropriate to post a notice for students (for example, a student request for extended facilities hours during final exams may be addressed in a notice or student e-mail blast to the community). Formal written complaints will be kept on file with the school for a minimum of five years.

The student has the right to contact the Massachusetts Division of Professional Licensure at: Massachusetts Division of Professional Licensure Office of Private Occupational School Education

Division of Professional Licensure Phone: 617-727-7406 Office of Private Occupational School Education Phone: 617-727-5811 E-Mail: Occupational.Schools@state.ma.us If a student feels that the school has not adequately addressed a complaint or concern and would like to contact the school’s accrediting agency, the Accrediting Commission of Career Schools and Colleges (ACCSC), procedures and contact information for this process are outlined below: Schools accredited by the Accrediting Commission of Career Schools and Colleges (ACCSC) must have a procedure and operational plan for handling student complaints. If a student does not feel that the school has adequately addressed a complaint or concern, the student may consider contacting the Accrediting Commission. All complaints reviewed by the Commission must be in written form and should grant permission for the Commission to forward a copy of the complaint to the school for a response. This can be accomplished by filing the ACCSC Complaint Form. The complainant(s) will be kept informed as to the status of the complaint as well as the final resolution by the Commission.

Please direct all inquiries to: Accrediting Commission of Career Schools & Colleges

2101 Wilson Boulevard, Suite 302 Arlington, VA 22201 (703) 247-4212 http://www.accsc.org A copy of the ACCSC Complaint Form is available at the school and may be obtained by contacting Alison B. Geehan, Vice President or online at www.accsc.org.

25

Our History A Long Background of High-Quality Photographic Education In August 1968, John H. Carruthers, an Academy Award-nominated cinematographer, founded the New England School of Photography to fill the need for professional photographic training in the Boston area. The school was originally located at 739 Boylston Street, Boston, Massachusetts. The first students began class in September 1969 and graduated in May 1971. The enrollment quickly outgrew the facility on Boylston Street and in August 1972, the school was moved to its present location at 537 Commonwealth Avenue, Kenmore Square, Boston, Massachusetts.

Since moving to Kenmore Square, NESOP has expanded the facility to cover approximately 14,000 square feet, including additional space at 650 Beacon Street— within a minute’s walk from our main doors. Starting with a general photographic curriculum in 1968 and responding to the needs of our students and demands of the marketplace, NESOP now offers Majors in eight commercial and artistic areas as well as Minors in ten areas of study.

In August 1991, William R. Carruthers took over as President of NESOP. Since that time, we have more than doubled the size of our digital imaging facility and expanded our library into a student media support lab. While offering the newest imaging technologies, NESOP continues to provide facilities for traditional silver, C-printing, historical and alternative processes—providing opportunities for our students to expand their creative repertoire.

In December 2006, William R. Carruthers assumed ownership of NESOP due to his father’s (John H. Carruthers) passing.

Always aware of the evolution of the medium, NESOP constantly takes steps to ensure that its students are learning on the same equipment that they will work with during their careers as professional photographers. NESOP is committed to updating and expanding our Professional Photography Program to ensure that our students receive the best possible photographic training and are ready to take on the current and future photography industry.

About this Catalog Published February 2016 All information including statements of course content, personnel, admissions and graduation requirements, etc. is subject to change without notice. Addendums to the catalog exist to provide information regarding current tuition rates, the school’s academic calendar and conduct policies. This catalog contains information about NESOP at the time of printing. Any changes occurring after the publication of this catalog will be included on an enclosed addendum and will be incorporated in the next edition of this catalog. Some images in this catalog do not depict the facilities at New England School of Photography (NESOP). Any and all student work in this catalog is given full photo credit and can thus be distinguished from images of the school, its students, faculty, staff, alumni or Boston.

Design/Art Direction: Stormship www.stormship.com

Photography*

Anthony Sahadeo

* does not include photography credited to students and alumni Front Cover photography, top to bottom, left to right: © Gregory J. Perko, © Sarah Santos, © Lyn Freeman, © Molly Burns Back Cover photography, top to bottom, left to right: © Gregory J. Perko, © Yorgos Efthymiadis, © Aoife Shanahan, © Andrew Moran, © Chelsea Kyle, © Colette Aboussouan

26

NEW ENGLAND SCHOOL OF PHOTOGRAPHY

New England School of Photography 537 Commonwealth Avenue Boston, MA 02215 For more information call: (617) 437-1868 (800) 67-NESOP [800-676-3767] Or e-mail: admissions@nesop.edu

www.nesop.edu