Introduction:

The Photography Program at the New England Institute of Art (NEiA) is an all-digital environment that actively engages current trends and progressive discourse in conjunction with traditional analogue skill sets. In a professional climate, students are encouraged to explore the potential of their personal vision utilizing digital technology, analogue techniques, and interdisciplinary approaches to enhance creative problem solving skills. Limited class size and professional faculty allow for the opportunity to develop and achieve individual goals. Through continuous exposure to contemporary and historic theory, students will develop conceptual integrity and the necessary vocabulary to communicate their ideas within a professional community.

Associate in Science in Digital Photography (AS):

The Associate in Science Program in Digital Photography at The New England Institute of Art (NEiA) is designed to provide students with the essential skills for digital photographic production and post-production. Students work with digital cameras, digital imaging and color management software, and digital printers to understand professional digital workflow. Students who complete the Associate in Science degree in Digital Photography will be prepared for entry-level positions such as photographic technician or photographer’s assistant, or they may elect to continue their studies in the Bachelor of Science degree program.

Bachelor in Science in Digital Photography (BS):

The Bachelor in Science Program in Digital Photography at The New England Institute of Art (NEiA) is designed to provide students with the essential skills for digital photographic production and post-production. With essential skills developed in the first two years of study, students move into advanced production and post-production digital work for their third and fourth years. Students work with digital cameras, digital imaging and color management software, and digital printers to master professional digital work flow. Concentrations are available in editorial, advertising, portraiture, and event photography. Students who complete the Bachelor of Science degree in Digital Photography will be prepared for positions such as photographer’s assistant, digital-imaging artist, product or still-life photographer, and newspaper or editorial photographer. Graduates may work for professional studios, advertising agencies, publishing houses, production companies, and newspapers and magazines, or choose to pursue freelance careers.

Other:

The Photography Department is located on the West Campus, a facility featuring Gallery 303, a space that exhibits student, faculty, and professional artists working in all disciplines. The rotating exhibitions allow for on-going opportunities to speak in and out of class with visiting artists and have conversations with curator(s) from the Gallery Club. In addition to Gallery 303, NEiA’s location offers easy access to contemporary commercial galleries and museums for field trips, lectures, and events.

Method of Instruction:

The Photography Department strongly encourages diversity of all types in the pursuit of creative solutions, the development and appreciation of aesthetics, and the desire to generate compelling questions and encourage a visual culture based upon individual curiosity. Instructional methods include lectures, hands-on demonstrations, lab use, one-on-one tutorials, and periodic examinations. With the exception of Internet-based classes offered through Plus learning and internships, all instruction is conducted in a classroom setting.

The New England Institute of Art
Photography Program Orientation
Departmental Policies and Information
Winter 2010

Welcome

Dear Photography Student;

Congratulations on matriculating at The New England Institute of Art to pursue your
study of Photography. You will find the Photography Program at the college to be
rigorous, demanding, and, at times, arduous and seemingly impossible. I assume that
you are here because you have the desire to pursue a career in Photography; as such,
you will also find your study here to be exciting, rewarding and ultimately fulfilling. Your
education here will engender and sustain you in pursuing your professional career in
Photography, but you must take charge of your own educational pursuit. You are the
deciding factor in the educational process. You must take ownership of this quest for an
education and career in Photography.
A key to finding success here at the college is to engage and be active in the
department. Interact with your Professors, your peers and your Career Services advisor.
Involve yourself in departmental activities. Join the Photography club. Networking is
one of the most important skills that you should work on during your time here and
beyond. Do not be afraid of taking risks and becoming an involved member of this
exciting photography community.
You must develop a work ethic. Take pride and care in your work, as it is a
representation of you and your capabilities. Remember that, at the end of your
education here, you will be pursing an internship and then a job. It is crucial that your
Professors know you to be of strong character and solid work ethic in order for them to
recommend you for internship and employment. Evidence of this can be found in how
you have matured as an artist throughout your tenure here at the college.
Finally, you are responsible for conducting yourself appropriately at the college. Please
read and comprehend the Student Handbook and the departmental policies listed in this
document. Please read them carefully as we will always assume that you are aware of
policy and act accordingly.
Again, welcome to the college and the Photography department. Please do not hesitate
to contact me should you require assistance.
All the best,
Rachelle A. Dermer, Ph.D., Photography Department Chair
Photography Department Orientation Winter 2010

Important Departmental Policies

Critique

Critique is one of the most important processes that you will participate in during
your education and throughout your life. You are responsible for the completion
of all projects prior to scheduled critique sessions. In-class critiques are allinclusive
and require full class participation. All students must participate by
actively engaging with work and offering constructive criticism. Critiques address
both conceptual and technical execution of the work presented. Work that is
incomplete will not be addressed during critique. All work must be completed by
the due date.

Class Participation

Class participation is essential in developing community and furthering your
education. You must come to class prepared to engage with reading
assignments, work that is presented during class, and any other assignments or
discussions that are presented. Your participation is mandatory and will help you
to develop a strong ability to articulate your ideas and interact with your
Professors and your peers.

Communication

All communication with Faculty must reflect upon your professionalism. If you
use email, in the subject line of your message please reference the course name
or course number. Your message should begin with a salutation, be properly
spell and grammar checked, and conclude with a closing such as "Thanks" or
"Best" followed by your name. Refrain from typing only in lower case letters -- it
is unprofessional and so 1999. Other forms of communication require the same
level of professionalism. Make appointments to see your professors, arrive on
time, and conduct yourself as a professional.

Attendance

Attendance of each class meeting is mandatory. There are no ‘excused’
absences at The New England Institute of Art. Missing class not only affects
your education, but also that of your peers. Much of the educational process
happens during class time. If you decide to miss class, you must make
appropriate arrangements with your professor before the class. If there is work
due during that class, you must make sure that it is turned in before the class
meeting or it will not be accepted. Missing class is not an excuse for not turning
in your work. Accordingly, the absence policy follows:
1 -2 Absences No Grade Penalty
3 Absences Automatic D (unless you have earned an ‘F’)
4 Absences Automatic F (Failure)

You must also be early (preferably) or on time for class. Arriving late and/or early
departures will not be tolerated. Behave professionally and be ready to begin
work at the start of class. Be prepared to work until the end of class.
Accordingly, the late arrival/early departure policy follows:
2 Early Departures and/or Late Arrivals = ½ of an Absence

Late Assignments

Late assignments will not be accepted. You are all aspiring to be professionals.
As a professional, you will never be able to miss a deadline without serious
repercussions. Missing a deadline will affect your livelihood and cause you to
lose your client(s). As such, in your major courses, no late work will be accepted
under any circumstances. You are expected to behave professionally. There
are no excused absences at this college; as such, you are responsible for
submitting your work on time, even if you are not in class on the due date.

Academic Integrity

Please be familiar with the Academic Integrity policy that is published in the
Student Handbook. In the Photography Department, the work that your turn in
must be work that you have done explicitly and uniquely for this course and
during the semester. You may not turn in any images that you have taken prior
to the current semester; similarly, you may not turn in work that you do in other
classes that you are taking this semester. Failure to comply by this programspecific
requirement will result in a “cheating” violation of the Academic Integrity
Policy as published in the Student Handbook and will be dealt with as outlined in
the handbook.

Exit Exams

At the end of your first semester, you are required to take an “exit exam” for both
PH101 and PH102. These exams have both a written and a practical
component. You must pass the exit exam in order to pass PH101 and PH102.
The exit exam is designed to confirm/approve your advancement through the
program by evaluating core skill competencies. Questions are not intended to
discourage you from pursuing this field of study, but to ensure that you are
prepared to move forward to the next semester. The exit exam is designed as a
non-biased approach to evaluate your understanding of the technical and
conceptual modalities covered throughout the semester. In later classes, these
topics will be will expanded upon with the assumption that this knowledge base is
in place. Therefore, all curriculum will be designed with the following core exam
policies in place for developmental advancement.
The Photography Faculty designed the Exit Exam policies and principals to
evaluate the technical competencies achieved in the PH101 and 102 classes,
focusing on the primary curriculum of those courses. The exit exams are
Photography Department Orientation Winter 2010 6
Pass/Fail. A board composed of photography faculty without the administering
instructor will review the exams. If you have any questions regarding the exit
exam, please feel free to contact your Professor or Department chair.
Finally, students are allowed to take PH101 and/or PH102 only two times. If you
fail the first time, be sure to pass it the second time or you will be terminated from
the college.

Board Reviews

All students beyond their first semester must participate in Review Boards during
finals week. For the boards, students bring all of the photography work (plus any
other work you have done that is relevant to the progress as an artist) that have
been done for the semester. The student chooses the best project to display and
all of the other work should be available for the review committee. The student is
responsible for determining the best method of presentation for the work;
however, digital files are not adequate. The student should determine the
appropriate print size and quantity based on the requirements of the project.
Students are expected to present complete work from the entire semester.
While the boards are not designed to prevent students from moving on to the
next semester, it is possible to not receive credit in which case you may need to
repeat a course in which you earned a passing grade. Potential issues would be
a lack of substantial work, lack of appropriate progress in your work or serious
technical ineptitude. You must show up for your board review as scheduled;
failure to do so will result in a failure of the boards with appropriate ramifications.
The Reviewers complete a form during the review. These forms will be kept on
file along with the student’s digital files. You may ask to see your file at any time
to evaluate your progress and to read the results of your Board Review.

Photography Course Descriptions

PH100 Introduction to Photography for non-Photography Majors
Non-Photography students will become familiar with how to create a photograph
with a digital camera, and how to use photographic techniques to control the look
of an image. Students will develop good digital asset management practices.
This course introduces the fundamental principals of photography for universal
applications and is available to all majors.
Prerequisite: ENG 001 English Fundamentals (test out of or C or better)

PH101 Principles of Photography
In this course, students will become familiar with basic digital photographic
production tools, including camera systems; light meters and digital capture
processes. There is emphasis on the Digital SLR and understanding the
mechanics of exposure. Students begin to learn to evaluate and critique
photographic images.
Co-requisite: PH102 Digital Photography Post-Production I

PH102 Digital Photography Post-Production I
This class is an introduction and exploration of the basic principles of digital postproduction
workflow for photographers. Students will become familiar with the
processes of color management, file formats, storage, and archiving. They will
also be introduced to the software programs used in digital photography. Design
elements and principles will be explored in relation to aesthetics and process in
post-production. Students will learn to approach a post-production problem and
document their process in reaching a solution. This class provides a framework
to build on for all future photography classes.
Co-requisite: PH101 Principles of Photography

PH111 History of Photography
The History of Photography will explore the principles of the photographic
medium from the camera obscura (1490) to contemporary digital interfaces within
the context of art, culture, and social/political foundations. This course will
address photographic movements and the scientific methods that shaped their
development and evolution. This class will consist of a series of lectures, visual
presentations, projects, and discussions.
Prerequisite: PH101 Principles of Photography with a C or better

PH112 Large Format
This course introduces students to medium and large format cameras and digital
backs in a studio context. These camera systems will be presented in
conjunction with the basic concepts and principles of studio lighting. This is the
first studio course and students will learn the basics of studio production
management.
Prerequisite: PH101 Principles of Photography, HIS150 Media Literacy, PH 102
Digital Photography Post-Production I with a C or better

PH120 Image Manipulation
The class is an overview of the software used for digital photography postproduction,
specifically to process, color manage, and composite photographic
images. Students will gain an in-depth knowledge of software packages and how
to determine the best tool for a specific problem. They will learn about workflow
management, file processing and output.
Prerequisite: PH101 Principles of Photography with a C or better

PH200 20/21 Contemporary Lens-based Media
This course will build upon the foundation established in the PH 111 History of
Photography. Artistic, political and analytical movements will be critically
addressed in addition to trends and technologies within lens-based media to offer
contemporary perspectives and foster qualified debates and discussions.
Beginning with the New Vision, this course will address critical aspects of
modernism and continue into the present post-post modernist perspective, as
well as address theoretical/political positions within the medium and public
consumption of imagery. This class will consist of a series of lectures, visual
presentations, projects, field trips, readings, papers, and in-class discussions of
pertinent subject matter.
Prerequisite: PH111 History of Photography with a C or better

PH201 Studio
Studio Photography will address the principles of composition and the
manipulation of subject matter through camera and lighting techniques. The
course will focus on developing problem-solving skills that address technical and
creative methods of crafting an image to achieve a desired goal.
Prerequisite: PH112 Large Format with a C or better

PH202 Digital Photography Post-Production II
This class is an extensive exploration of digital post-production workflow for
photographers. Students will work with the processes of color management, file
formats, storage, and archiving, building their own working methodologies based
on the idea of ‘best practices.’ They will learn advanced software programs used
in post-production to manage color output.
Prerequisite: PH102 Digital Photography Post Production I and PH 120 Image
Manipulation with a C or better

PH203 Location Photography
This course will address the conceptual and physical boundaries of location
through tangible and metaphysical environments. The manifestation of location
within politics, tourism, cyberspace, perception, and personal perspectives will be
addressed in conjunction with technical execution, evaluation, and the
(re)articulation of place. We will look at the potential of a location from an
analytical perspective to address personal as well as commercial production
within architectural interiors, exteriors, applied subjectivity of identity within the
Photography Department Orientation Winter 2010 9
environmental portrait, mapping, and self-assigned conceptually driven work.
Motivation to support or oppose the politics of place (private and public vis-à-vis
fabricated and factual) will be an essential component of this course.
Prerequisite: PH111 and PH120 with a C or better

PH204 Photography Internship for A.S. (A.S. only)
Students meet with Career Services in order to find an appropriate photography
internship. Then, the student spends the semester working in this internship with
continuous evaluation and feedback in the course and from the internship
supervisor. This course must be taken concurrently with PH214
Co-requisite: PH214 Photography Portfolio for AAS Students

PH214 Photography Portfolio (A.S. only)
Students in this course, concentrate on completing a comprehensive and
professional portfolio of their work. Students focus on presentation,
craftsmanship, and the development of a personal style.
Co-requisite: PH204 Photography Internship

PH211 Professional Development I
In this course, students begin to develop their “branding” identity. They will begin
the process of branding themselves and their work. They will learn how to plan
and manage a commercial studio and/or fine art practice. They study topics
ranging from managing personnel, negotiating with clients, and managing large
productions. Students also use business management software to estimate costs
for work and learn to manage a budget and create estimates.
Prerequisite: PH201 Studio, PH202 Post Production II, PH203 Location
Photography

PH212 Editorial Photography
Students will study the practice of editorial photography in this course. They will
examine photojournalism and documentary photography both in theory and
practice. They will study various modes of distribution such as magazine,
newspaper, the Internet, exhibitions and books. Students will define their own
photography project that is editorial in nature and produce a final portfolio project
of work.
Prerequisite: PH111 and PH120 with a C or better

PH213 Concept Development
In this course, students will begin to explore the development of visual solutions
to photography problems. This is a process-oriented class and students will
learn to create a photography product for a client. They will work in groups and
advance concepts to meet the criteria set in the photography problem. Students
will begin learning to write proposals and then work from the proposal to
complete a project through several steps of development including budgeting and
time management. This course introduces students to working in production
groups and developing ideas from concept to final product in conjunction with the
needs of a client.
Prerequisite: PH201 Studio with a C or better

PH301 Portraiture
This course will explore both the practical and theoretical aspects of portraiture
and photography. Hands-on projects will address the portrait as a creative
vehicle to communicate ideas within the image to verify or falsify identity. This
class will challenge an understanding of representation through on-going projects
as well as site-specific portraits in the studio and on location.
Prerequisite: PH203 Location Photography with a C or better

PH302 Photography Theory and Criticism
In this course, students will examine contemporary philosophical, historical,
aesthetic and epistemological topics by addressing the evolution of discourse
from the Enlightenment into the 20th century. A comprehensive selection of
theorists and critics who address visual semiotics and the taxonomy of imagery
and ideas will be introduced. Active discussion and participation will be a core
requirement.
Prerequisite: PH200 20/21 Contemporary Lens-based Media with a C or better

PH303 Digital Illustration
In this course, students explore how photographs come to be meaningful. They
will study the theories of photographic representation and engage those theories
in producing work that is somehow illustrative in nature. Students will be
presented with illustration problems and asked to present a digital photographic
solution. The culmination of the class will be students formulating their own
projects for photographic illustrations and then producing the images.
Prerequisite: PH202 Digital Post Production II with a C or better

PH304 Advanced Studio Workshop/Seminar
Advanced Studio will focus on the development and enrichment of self-designed
projects, concepts, and ideas within an identified studio environment. This
course will require constant production (pre and post) on the project(s) you have
elected to pursue. Qualified explanation of aesthetics, representation of final
image/object, and the development of consistent codes within a visual language
will be addressed on a weekly basis. This is an advanced course with an
emphasis on deadlines, technical competencies, written/verbal skills, and
professionalism. All criteria are expected to be met to further hone skill sets,
conceptual foundations, and demonstrate respect for yourself and colleagues.
Prerequisite: PHPH201 Studio with a C or better

PH311 Durational Exposure
Durational Exposure will explore time-based media in linear and non-linear
formats as a cross-disciplinary production. This course is intended to provide
fundamental principals of digital video for photography majors by exploring the
implications of durational image making. This course will address basic and
advanced in-camera editing techniques as well as post-production video editing
software for commercial and fine art applications. Students will survey the
medium, semiotics and other methods of mass communication pertaining to
digital video. Emphasis will be placed on technical proficiency with software,
lighting, as well as problem-solving skills demonstrated with assigned projects.
Prerequisite: PH303 Digital Illustration with a C or better

PH312 Special Topics in Photography I
Special Topics in Photography is a 300 level course that addresses student
driven projects within an intensive seminar and critique class structure. Starting
with identified project proposals prepared upon entry to the course, the student
will be responsible to produce the appropriate supporting research such as
literature, complementing or conflicting artists work, writing, and theoretical text,
for regular in-class presentations, critiques, and discussions.
Prerequisite: PH212 Editorial Photography, PH304 Advanced Studio
Workshop/Seminar with a C or better or permission from instructor

PH313 Layout: Digital Imaging
In this course, students study how photographs work in a layout with other media
elements. Students will explore digital layout programs and experiment with the
ways in which photographic “meaning” can be altered, manipulated and
controlled by different layout methods. The photograph is studied in conjunction
with how it interacts with other media and text when combined on a page or a
screen.
Prerequisite: PH303 Digital Illustration with a C or better
PH 319 Narrative and the Lens
Storytelling has historically been an important element of photographic
production. From the time of Rejlander’s and Robinson’s composite images to
Muybridge’s motion studies to Cindy Sherman’s film stills to the contemporary
productions of Crewdson, the idea of a story is a crucial unpinning of the success
of the photograph. Similarly, photojournalism and documentary photography rely
on narrative as a purpose for the images. Narrative can be as important to the
still image as it is to moving images and texts. Postmodern narrative theory has
helped us to take apart the idea of narrative and to better understand the way in
which narrative works with both the author and the viewer/reader. In this
production course, students will study narrative theory and make images that are
based in narrative. At risk is the notion of “the real,” even in documentary or
photojournalism. Students will question objectivity, reality, and fact. They will
undertake a study that allows them to deconstruct these ideas and use a critical
approach to determine the value of narrativity and the practice of such within the
photographic discipline.
Prerequisite: PH212 Editorial Photography and Digital Illustration with a C or
better

PH401 Portfolio Preparation
In this course, students begin to work on refining their style. The student begins
the process of planning, preparing and revising a comprehensive portfolio of their
work. The photographic portfolio will be considered in terms of other
photographer’s portfolios and how bodies of work function as a whole.
Prerequisite: PH312 Special Topics in Photography I and PH 313 Layout with a
C or better

PH402 Professional Development II
In Professional Development II, students will build upon the work that they
started in Professional Development I. They will continue the process of
branding themselves and their work. They will plan and manage their own
freelance, commercial studio and/or fine art practice. They will continue to
explore budget development, process management and other photography
business practices.
Prerequisite: PH211 Professional Development I and PH312 Special Topics in
Photography with a C or better

PH403 Special Topics in Photography II
Special Topics in Photography II is a 400 level course addressing student
directed photo-based projects within an intensive seminar and critique class
structure, and expanding from ideas and projects introduced in Special Topics in
Photography I. Starting with identified project proposals prepared upon entry to
this course, the student will be responsible for producing appropriate supporting
research such as literature reviews, investigating complementing or conflicting
artists work, writing, and reading theoretical text, for regular in-class
presentations, critiques, and discussions. This intensive process of research and
image production is directed to produce a coherent body of work, artist
statement, and hone specific technical skills addressing the craft required to
execute pre-determined project. The exploration of new media, durational work,
installation, and interactive web production are strongly encouraged.
Prerequisite: PH302 Photography: Theory & Criticism, PH311 Durational
Exposure and PH312 Special Topics in Photography I with a C or better or with
permission from the instructor

PH411 Photography Seminar and Portfolio
Students in this course, concentrate on completing a comprehensive and
professional portfolio of their work. Students focus on presentation,
craftsmanship, and the development of a personal style.
Prerequisite: PH401 Portfolio Prep and PH403 Special Topics in Photography II
with a C or better

PH412 Photography Internship for BS
Students meet with Career Services in order to find an appropriate photography
internship. Then, the student spends the semester working in this internship with
Photography Department Orientation Winter 2010 13
continuous evaluation and feedback in the course and from the internship
supervisor. This course must be taken concurrently with PH411.
Prerequisite: PH401 Portfolio and Ph403 Special Topics in Photography II with a
C or better

PH 414 Photography in Four Dimensions: Sequential Imaging and
Bookbinding
This course is intended for students who wish to pursue the most advanced and
conceptual aspects of the image and its direct, physical interaction with the
viewer.Through an exploration of the history (and prehistory) of storytelling and the
physical structures which have held those stories from earliest pictographs
through the Twentieth Century, students will experiment with their own content
(narrative or otherwise) and manipulation of the viewer experience by utilizing
space and time. From simple grouping structures to convoluted sequential
abstraction this class encourages the most advanced experimentation combining
the image of the photograph with the object of its physical conveyance.
Prerequisite: PH313 Layout and PH319 Narrative and the Lens with a C or better

PH 218 Advanced Large Format
Advanced Large Format will focus on the development and enrichment of selfdesigned
projects, concepts, and ideas utilizing large format cameras (digital
back, film, and alternative perspectives) within the studio as well as location
environments. This course will require constant work production (pre and post)
on self-designed project(s) as well as technical assignments. Qualified
discussion of aesthetics in conjunction with technique as well as alternative
image making practices that demonstrate core knowledge of camera physics and
manipulation. This is an advanced course with an emphasis on deadlines,
technical competencies, written/verbal skills, and professionalism. All course
criteria are expected to be meet in order to further hone skill sets and conceptual
foundations.
Prerequisite: PH112 Large Format with a C or better

PH 324 Advanced Printmaking
Advanced Printmaking is a continuation of basic photographic printing techniques
intended for students who are particularly drawn to the post-production field
within photography. Fine-tuning printing technique to professional standards will
be the focus of the class. This includes control of all aspects of the image,
choosing the appropriate media for a given image, developing language to
verbally communicate printing instructions and intent, and manipulating image
quality for emotional effect. In class lab work will be a critical aspect of the
development of this level of image perception.
Prerequisite: PH202 Digital Post Production II with a C or better

PH 321 Alternative Techniques and Photographic Objects
This class will explore any number of methods of transmitting photographic data
into physical manifestations. Specific techniques will be refined depending on the
particular interests and goals of the students enrolled in any given semester, but
may include: full frame printing onto deckled edges, untraditional substrates,
digital negatives, simple light-sensitive processes, Polaroid techniques, acrylic
lifts, waxing, encaustic, various collage and montage techniques – anything
which will lead students to achieve their individual interests. Emphasis will be
placed on how these various techniques convey meaning to the viewer and how
to use physicality to emphasize and reinforce conceptual meaning.

PH 305 Digital Photo Tech
Digital Photo Techs (DPTs) are hired by photographers to process image files,
prepare them for release to clients or publication, and set up a digital storage
system that thoroughly protects data. The job is one of the most accessible postgraduation
options for photography students. In this course, we will learn how to
work as a DPT on the technical, photographic, and human levels.
Prerequisite: PH202 Digital Post Production II with a C or better
PH 497 Senior Seminar
Senior Seminar is the capstone course for the B.S. in Photography. This course
ties together the key learning objectives that faculty expect the student to have
learned during the photography major. In this course, students will work as a
group to discuss their future and their approach to entering the work world. The
discussions will focus on facing fear, overcoming obstacles, finding an approach
that allows one to remain true to their value systems and reach their goals. The
student will complete a semester-long project of their choosing. The project will
also be a point of discussion and at least one-half of each weekly session will be
devoted to critique and discussion of the projects.
Co-requisite: PH411 Photography Seminar & Portfolio, PH412 Photography

Photography Clubs/Organizations

Lens Based Artists
bmyren@aii.edu
Lens Based Artists is the photography department’s academic group for
photography students. As a club, we undertake various activities such as
critiques, attending First Fridays in the South End, Leadership Summit, print
trades, tutoring sessions. The club also works to bring in guest speakers and
organize student shows. Furthermore, Lens Based Artists acts as the umbrella
club for the Photo Outreach club and the Big Picture Collaborative.
www.lensbasedartists.com

Photo Outreach Club
molly@mollylamb.com
The photography outreach club is organized around the idea of empowering
people by teaching them photography skills. This semester, under the direction
of Professor Molly Lamb, the group will be offering a photography class to
students at a small Charter school without facilities and to the Boys and Girls
club. Outreach is an important endeavor in the department as it allows students
to act as teachers, it extends into the community to empower individuals and
hopefully provides all participants with a positive experience of learning and
growing. Students participating in this club must be committed to the cause and
show dedication and responsibility by meeting the initial commitment to
participate.

Big Picture Collaborative
bmyren@aii.edu
Big Picture is loosely organized and involves the planning and implementation of
collaborative photo shoots involving lots of gear and lots of planning. Usually
someone in the department comes up with an idea for an elaborate photograph
and then sends out the word and all students interested show up for the shoot
and make it happen. Big Picture is a fun, open ended experiment that results in
collaborative photographs whose author is designated “Big Picture
Collaborative.”

Gallery Club
cbeckett@aii.edu or spatel@aii.edu
The Gallery Club is responsible for the interior walls at 303 Boylston Street
Building (west campus). This includes Gallery 303 – the main open area with the
security guard’s desk and the second floor, which is designated for student work.
Students in the club are responsible for defining shows/designing exhibitions,
choosing work, hanging work and taking down work. This club is an
interdisciplinary club and therefore a great opportunity to work with students in
other majors.

Chainring Secession Bike Club (CSBC)
www.chainringsecession.com
tgustainis@aii.edu or rdermer@aii.edu
The Chainring Secession Bike Club (CSBC) is an enthusiastic group of artistic
individuals interested in developing an extended community network via
extracurricular biking activities and exploring new areas of Boston. Regular rides
will be mixed between road and woods. Road rides explore new routes
throughout the city. Mountain bike adventures will take place throughout New
England. Trail rides will address a wide range of skill sets and points of interest
from cross-country, all-mountain, down hill (intermediate and advanced bike park
trips), and night riding. Periodic introductory rides will be offered to anyone
interested in the sport. Practice technique rides will be scheduled on an asneeded
basis to further hone and develop technical skills and build community
and leadership opportunities. Since bicycle riding is less-than-safe, it is
mandatory that everyone wear appropriate protective equipment and exercise
extreme caution and respect (for self, others, and environment) whenever one is
on or off the trail(s). The CSBC encourages leadership, team achievement, and
respect for the environment, self, and others (along with big air, great balance,
and speed). We believe in setting personal goals and employing strategies to
physically and psychologically achieve them. Riders of all abilities are welcome.