NESOP by Jongchul Lee

professional photography program catalog

NEW ENGLAND SCHOOL OF PHOTOGRAPHY

What’s Inside ::

www.nesop.com

About NESOP Discover New England School of Photography :: 3 Your Career and Our Mission :: 5 The Education :: 7 The Setting, The Student Body, The Faculty :: 9 NESOP Alumni The Alumni :: 10 Career & Alumni Services :: 11 Academic Program First Year :: 12 Second Year :: 13 Seminar Series & Supplemental Courses :: 34 Portfolio Review :: 35 Majors & Minors Advertising and Commercial Photography :: 14 Editorial and Corporate Photography :: 16 Portraiture and Wedding Photography :: 18 Visual Journalism :: 20 photography, top to bottom, left to right:

Documentary Photography :: 22 Creative Imaging Arts :: 24

Fine Art—Black & White Photography :: 26 Fine Art—Color Photography :: 28 Architectural Photography :: 30 Fashion Photography :: 32 Biographies Faculty :: 36 Administration:: 37 Admissions Financial Aid :: 38 Requirements/Policies and Procedures :: 38

photography, top to bottom:

The Application Checklist:: inside back cover

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.

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.

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.

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.

photography from cover, top to bottom, left to right: © David Butler, © Philip Frazer, © Graham Ingallina, © David Butler

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:: Discover New England School of Photography

photography, top to bottom, left to right: © Steve Sangalang, © Caleb Cole, © Jongchul Lee, © Cassandra Allred, © John O’Donnell, © Derick Belford, © Steve Sangalang, © Mark Thomson, © Jeffrey Sisto, © Karen Mooreside, © Andrea O’Hearne, © Ekaterina Smirnova

know

get to the city of Boston:

:: The famous Citgo sign in Kenmore Square contains five miles of neon tubing

:: About 300,000 college students live in Boston :: About 600,000 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 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 :: The John Hancock Tower is 60 stories tall and boasts 13 acres of glass

:: The Berkeley Tower has a weather beacon at its summit, in operation since 1950, that signals the coming weather for Bostonians:

www.nesop.com :: 2

Steady blue, clear view Flashing blue, clouds due Steady red, rain ahead Flashing red, snow instead

:: 3

“

As a Veteran, I came to NESOP with a unique world view… I had a lot to say, and my NESOP education has helped me channel it and express it visually.”

Make a Career Doing What You Love

Jeffrey Sisto

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

:: Our Focus on Your Success

student :: editorial photography major / portraiture and wedding photography minor

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.

Start Here ::

Our Mission ::

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

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.

your career as a professional photographer

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

preparing students for the real world I came to NESOP with a Bachelor’s Degree from Bates College and a Basic Still Photography Diploma I earned in the Marines. I knew I wanted to be a professional photographer. I’d had some training, but I needed a more well-rounded education. Because I am married with children, learning the business of photography was essential. NESOP offered the comprehensive technical, artistic and business education I was seeking.

The NESOP philosophy is to help you succeed in taking

I found the program intense, challenging and

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 wholly 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.

rewarding. The two years gave me the time to achieve a deep educational experience and understanding of what I wanted to do with my photography, what I wanted my images to communicate and who I was as a photographer. My exposure to and understanding of photography has increased exponentially. NESOP is successful because the faculty, students and staff take an interest in you personally. So much of who you are shows up in your photography, and the people here care about that. As a Veteran, I came to NESOP with a unique world view, shaped by intense experiences and powerful influences on my character. Most Veterans have “real-world” experience—be it peace-keeping, anti-terrorism, combat operations or training to be in the Armed Forces. I believe this experience gives them maturity, discipline, perseverance and resilience— necessary qualities for success in a challenging program like NESOP’s. I had a lot

resources

you’ll find a wealth of to help you build your career:

to say, and my NESOP education has helped me channel it and express it visually. I was always being pushed beyond my comfort zone to make better images. It’s amazing how much you learn here. And, you don’t do it alone.

:: Advanced digital imaging and traditional photographic techniques

There’s always someone there for you. Your NESOP resources are everywhere.

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, with access to premier photographic and cultural centers

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:: 5

“

Our graduates leave NESOP as part of a network of creative professionals. This keeps them informed, in touch, engaged and encouraged as they work on building their careers.”

Sue Anne Hodges faculty “ A shorter program would be rushed and not as comprehensive—like a crash course where you just touch the surface. A longer program might lose the focus and intensity.”

:: A Balanced & Complete Education

Jocelyn Gabriel, Class of 2008

The Education :: 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 time frame to gain a mastery of the technical and business skills required to succeed as a professional photographer and develop a distinct, identifiable style. In professional photography, technical skill is your foundation; yet creative ability is the element that sets 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 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 also gain an understanding of how you work best, which is vital for organizing an efficient workflow and building an effective business.

Eat, Sleep and Breathe Photography 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.

is on making a successful image, including the area where I teach, Creative Imaging Arts. I got involved in digital imaging in its early

ative control the discipline gave me brought

:: 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.

was my commercial career, the level of creme back to my roots as an artist. I found that so invigorating. Today, digital technology touches every aspect of my work and is a practical part of every aspect of my business. The technology is just the tool. NESOP gives students the creative and technical knowledge to use the tool to its fullest. Our goal is to encourage students to take the techniques and skills they learn at NESOP, use them to realize their vision and produce creative, successful images. NESOP students are prepared. Because all of us on the faculty are working professional photographers, we’re in tune with what’s happening in the industry—from new technology to changes in business models to the economic climate. We bring that knowledge to the classroom. Students get a real sense of the professional world, and they’re already a part of it when they graduate. They also learn from each other. The diversity of our student body enriches the classroom environment. Students come here with a range

You make two professional portfolios here—a Major and a Minor. According to my research, no other school does this.”

of experience and education. The wealth of personal histories, cultures and interests is incredible. Side by side, fine art and com-

After experimenting with different degree pro-

mercial students learn from each other. This

grams, I decided to follow my passion and pursue

here because I wanted to jump right in and focus

You develop tangible skills, learn about Yourself

helps them find new ways to be creative and

photography. I knew that I wanted to work in fine

on photography.

and how you work, and then learn to work effi-

push limits.

art—black & white, and I wanted to work with film. I also knew that I might work with architectural photography. At NESOP, you can do both. Unlike at other schools, you’re able to choose a major and minor. You’re able to work with film at NESOP, and

In the first year, you build your technical skills. NESOP gives you the time to explore your artistic

ciently as a professional while offering something unique as a photographer.

The creative energy, enthusiasm and collaboration here are unmatched. NESOP is a unique

and career options; and based on your explora-

NESOP is not like traditional colleges. You make

community. There’s genuine caring between

tions, pursue what’s right for you. During the sec-

two professional portfolios here—a Major and a

faculty, students and staff. The bonds forged

ond year, you develop and refine your vision. To an

Minor. According to my research, no other school

at NESOP support and motivate our students,

artist, vision is critical. You don’t want to make the

does this. The faculty is extremely accessible and

even after graduation. Our graduates leave

same image every time you shoot; yet, you do want

approachable. They make your dreams tangible.

NESOP as part of a network of creative profes-

to develop your own unique, identifiable style. The

NESOP has high standards and you have to meet

sionals. This keeps them informed, in touch,

NESOP provides such a well-rounded, complete

length of the Professional Photography Program

them to succeed in the program. I found the pace

engaged and encouraged as they work on

photographic education. The program is strictly

allows you to mature as an artist and profes-

and expectations of the program to be intensely

building their careers.

photography. While I don’t have an undergraduate

sional and develop your own identity as an image

challenging and rewarding. Now, I shoot architec-

degree, I do have college experience, and I didn’t

maker. You also need that time to understand the

tural photography for a living and continue to pro-

need two years of liberal arts classes. I came

way you work and develop an efficient workflow.

duce fine art work for exhibition. I love my career!

for me, that’s essential. So is the location—I want to be in Boston. There are more resources here,

:: 6

unique perspective as both A student and faculty member. In all concentrations, the focus

years. Although my motivation for learning

:: 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.

student :: black & white photography major / architectural photography minor

teaching here since 1987, which gives me a

At NESOP, your learning opportunities extend far beyond our facilities. Through our memberships and relationships in the photographic community, you can take advantage of many resources as a NESOP student, including: 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.

Graham Ingallina

I graduated from NESOP in 1980 and have been

Immerse Yourself in the Art of Photography

:: A n institutional membership at Boston’s Photographic Resource Center (PRC). Located just a short walk from NESOP,

“

:: creative imaging arts

and you never run out of things to shoot.

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:: Our NESOP Community

The Setting :: vibrant, historic Boston

focus your goals

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 area 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.

“

Our [NESOP] students are defining how journalism evolves—not simply reacting to what’s being dictated to them. They’re writing the new rules for the industry.”

Glen Cooper

faculty

:: visual journalism

The Student Body :: a diverse, welcoming community of photographers When you enroll in the NESOP Professional Photography Program, you join a diverse yet intimate student body of approximately 150 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 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 18 students. Chances are, you will get to know most of your classmates and forge close 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.

From the day I started teaching at NESOP in 2006, my goal has been to get my students working in the field before they graduate. I want them to be working professional photographers. It’s what they came here to do, and it’s my job to make sure their education pays off. I have a graduate degree in photojournalism;

I’d always carried my camera with me and loved

“

I was getting professional assignments as a student… I had press credentials. I was on the floor at Celtics games. I was in the Patriots locker room. My images were getting published.”

taking pictures. Photography was my dream job. Then, I found NESOP and realized it was possible to make a career doing what I loved. I attended three different colleges before earn-

progress. It’s so focused. From day one, you’re

There’s a lot of support at NESOP—it’s like a

expected to be a professional, to produce,

second home. There’s an open-door policy from

to contribute.

the top down. Everyone is willing to talk to you

I was getting professional assignments as a

regardless of their position, the day or time.

ing my Bachelor’s degree from the University of Queensland in Australia. The experience at

student, and I remember thinking, ‘Wow, I’m stand-

They’re all really interested in you and your

ing with photographers who have been shooting

work. Until I came to NESOP, I’d never had teach-

for the Globe and news outlets for years.’ I had

ers that legitimately wanted me to do as well as

press credentials. I was on the floor at Celtics

them. They help you find opportunities in your

games. I was in the Patriots locker room. My

field. The majority of the internships I’ve par-

images were getting published. On the second day

ticipated in or freelancing work I’ve secured has

The two-year program is just the right balance

of photojournalism class, we were out shooting

been supplied by the career and alumni services

of time, commitment and focus. The way the pro-

the Red Sox rally, and my photograph made the

office and my instructors. At NESOP, the oppor-

gram is structured, you have to keep learning,

front page of Boston Now. This helped me build

tunities to work and to network are there—you

retain what you’ve learned and build on it to

my confidence and résumé.

just have to take advantage of them.

NESOP is totally different. This really is a community. Students know you. Faculty knows you. Administration and staff knows you. And they all care about you as a person and your success as

Jocelyn Gabriel

student :: visual journalism major / documentary photography minor

:: 8

a photographer.

The Faculty :: accomplished professionals, dedicated educators

but I learned most of what I know about being

All 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. You study with skilled professionals offering years of real-word 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.

dents to learn all the things I learned outside

More like an extended family than a staff, our faculty members are consistent and stable and show a high degree of loyalty to NESOP. Some early NESOP graduates serve as instructors and others have been with us for decades. With our reputation for excellence, NESOP consistently attracts new instructors, and with them, fresh perspectives. The cumulative experience and depth of knowledge our faculty offers is a rich resource 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.

a [visual] journalist on the job. I want my stuthe classroom while still in school. Because it’s concentrated, the NESOP Professional Photography Program delivers more bang for the buck when compared with other programs. My students do real-world shooting, such as hard spot news and sports, and they use realworld applications. It’s not fluff. The journalism industry is constantly changing, both ideologically and technologically. NESOP students are informed of these changes and skilled in the new media. Our students are defining how journalism evolves—not simply reacting to what’s being dictated to them. They’re writing the new rules for the industry.

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Magdalena Charylo

alumna :: 2002 fine art and editorial freelance photographer

I had an MFA and was working in commercial

researched in my home country of Poland.

television for two years when I made the switch

At NESOP, you get the best technical founda-

mind to completely different visual ideas and

to editorial and corporate photography. It was

tion so that you know how to bring all your

cultures. NESOP was the only choice for me.

clear from the start that I needed more techni-

creative, wonderful ideas about making images

It taught me persistence and how to create a

cal skills, more artistic flexibility and to learn

come to life. You are encouraged to build your

strong, cohesive body of work. At NESOP, there’s

how to market myself.

own artistic vision and make images that are

a passionate response to everything you do as

intriguing and relatable. The faculty is friendly

a photographer. It has helped me to keep chal-

I was looking for a great professional school with a focus on technical development and creativity. I found all that at NESOP. The program is so well-structured—unlike the programs I

:: Our NESOP Alumni

“

Career & Alumni Services ::

an invaluable network of photographers

The classes are tough, and the expectations are high, but everyone is supportive. You have to be willing to work hard.”

honest, creative, hard working and able to set yourself apart from others in the field. NESOP

I am from Boston, and when I returned home

master the technical aspects of photography

after college, I knew I wanted to start my

and be part of an open, honest forum where you

photography career here. I visited NESOP and

learn to give and accept critique. It’s not a typi-

gave me the tools I needed to do all of that and to thrive in this industry. I’ve established a very successful wedding and portraiture photogra-

fell in love with the environment. Everyone was

cal classroom environment; you’re expected to be

so friendly and welcoming. When I started the

professional, yet it’s informal. The classes are

gratifying. All my efforts benefit me. The sense

Professional Photography Program, I did not have

tough, and the expectations are high, but every-

of accomplishment is outstanding. I have the

experience, technical skills or a vision of who I

one is supportive. You have to be willing to work

flexibility to set my own schedule, and I love

was as a photographer. The program is great. It

hard. Being a photographer and owning your own

what I do for a living. I have NESOP to thank for

forces you to step out of your comfort zone,

studio is a seven-day per week job. You have to be

helping me attain my goals.

phy business. Working for myself is incredibly

Lauren Killian

alumna :: 2004 wedding and portraiture photographer

NESOP proudly celebrates over 40 years of educating students to become successful professional photographers. During 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, which offers a variety of ways to stay a part of the extended NESOP community. As a NESOP graduate, you can receive a quarterly newsletter, interact with fellow graduates in an online forum, share news through an online blog and participate in alumni networking events in Boston and beyond. You will find invaluable resources and support through our alumni network as you embark on your chosen career path.

A Head-Start for the Industry From your start in the program until well after graduation, the NESOP career and alumni services department is prepared to assist you in establishing yourself as a professional in the field and helping you find full-time and freelance work. We offer individualized assistance to help you identify and obtain internships and assisting opportunities while you are in school. In the second year of the program, you begin receiving our weekly job lead e-mail blast and continue to receive job leads until five years after your graduation date (after that five years, you may be kept on the job lead list upon request). Many of our students have the opportunity to work in the field before they graduate. The career and alumni services coordinator is present at your portfolio review to become familiar with your work and regularly meets with you during your course of study to learn about your work and the types of photographic career opportunities in which you are interested.

We’d known each other since 1995. We went to a local community college and took some

Jeremy & Claire Weiss

alumni :: 2000 advertising and editorial photographers

:: 10

“

The style we developed while at NESOP is still, at its core, our signature style; and it has contributed to our success as professional photographers.”

photography classes when we decided to move

photography their career(s). The mentoring is

photography head first; and it gave us the skills

to Boston. Boston is a great city where you can

outstanding, and you learn to take criticism and

and business knowledge we needed to make our

walk out the front door and have everything

trust your judgment. The faculty helps bring

living in this field.

going on around you; yet, it’s manageable. We

out your personal style and instill confidence

knew that we wanted to make a living out of

in you. The style we developed while at NESOP

photography and started researching schools.

is still, at its core, our signature style; and it

NESOP appealed to us because the profes-

has contributed to our success as professional

sional photography program’s sole focus is

photographers. The length of the program was

photography. Everyone is serious about making

also perfect for us. It allowed us to dive into

NESOP also offers a number of opportunities beyond the classroom to help you prepare for your career. In addition to our Lunch Specials, After School Specials and Industry Networking Day, our career and alumni services office keeps students and graduates informed of important events and opportunities in the broader photographic community in Boston and beyond. Career services are available to all graduates of the Professional Photography Program. Every possible effort is made to place graduates in their desired field.

from all over the globe, and they opened my

and inspiring. They show a sense of humor and

lenging myself and making work of which I am

patience as they teach you the tools to trans-

very proud.

late your imagination to image. I made friends

“

At NESOP, there’s a passionate response to everything you do as a photographer.”

However, NESOP does not guarantee employment. To receive career and placement assistance as a graduate, your account must be in good standing with the school; you must complete a Placement Record Form and respond to placement surveys made by the school. Appropriate job leads are proactively forwarded to graduates from the school, until five years after your graduation date. After this five-year period, you may contact the school for job leads for as many years as you desire. The career and alumni services office e-mails job leads to graduates with access to e-mail, ensuring that the job leads reach you in a timely manner.

The Alumni :: engaged in interesting, fulfilling professional careers

You’ll find the work of NESOP graduates on the front page of your morning paper, in fashion and news magazines, in top ad agencies and at leading galleries and museums. Our graduates are among many of the country’s leading freelance commercial photographers and photojournalists. And they cite their NESOP experience as crucial to their development as professional photographers. One of the most enduring impressions NESOP makes on our alumni is the nurturing atmosphere created by students, faculty and staff. They also remember it as the kind of place where students take chances and are encouraged to stretch visually beyond their comfort zones. There is no typical NESOP alumnus. Some go into visual journalism and editorial work, others into portraiture, wedding, commercial or advertising photography, and still others into the fine arts. All are linked by the ability to use their photographic training as the springboard to a unique, creative career in photography.

Intensive Training for Professional Careers The high degree of professionalism at NESOP is mirrored in our graduates. No matter what area of photography they’re in, NESOP graduates bring a high degree of professionalism, skill and creativity to their work. You can shine, too. It all starts at NESOP, where for two years, you can focus on photography with the guidance of our expert faculty.

“

hooting campaigns for big clients like T-Mobile, S HP and Milk is both technically and creatively demanding. NESOP’s Professional Photography Program prepared me to succeed in this very competitive [commercial] market.” - Adrian Mueller, 1999 Professional Photography Program Graduate, now working in New York as an advertising and commercial photographer.

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Overview :: majors & minors

:: Academic Program

First Year :: build a solid foundation

Second Year :: focus your goals

he first year of the Professional Photography Program establishes a solid foundation in photographic craft and visual communications T in contemporary (digital) and traditional (film) technologies. This year emphasizes mastery of basic 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.

In the second year, you choose courses in your areas of interest and specialization, selecting a combination of courses totaling between 12 and 24 class units each term. During your second term, you declare your Major and Minor areas of concentration. The focus 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 for the real world.

s you progress technically, the program structure enables you to explore design concepts and develop your ability to convey ideas in a A solid 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 from print to print. 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.

Focusing in on choosing your area of specialization As you progress, you choose an area of concentration—your Major— to further your studies. You also choose a Minor area of concentration, allowing you to enhance your skills and produce a second, complete professional portfolio.

Digital Workflow I :: 4 units Working in tandem with the Introduction to Digital Capture class, this course helps students develop an organizational structure and learn to efficiently process their digital images. Methods for archiving and backing up files teach students to stay organized and keep their image files safe; essential habits for professional photographers. Batch processing, creating contact sheets and making adjustments for color and contrast correction teach students to effectively prepare and process images for output. Photographic Art and Design :: 6 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.

Intermediate Digital Capture :: 6 units Building on the Introduction to Digital Capture class, this course expands on digital SLR functions, allowing students to improve their image making skills. Using on and off-camera flashes, reflectors and other lighting modifiers, students explore ways to integrate and control light in their photographs. Students learn professional lighting skills, the ability to identify and manipulate the direction and quality of light and advanced exposure and metering methods. Digital Workflow II :: 4 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 Art of Black & White Photography :: 6 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. Basic Principles of Business for Photographers :: 2 units Understanding and knowing how to manage the business of photography is as important as knowing how to make a good image. This course introduces students to the basic business practices within professional photography. Working with clients, basic management and marketing as well as legal issues, such as copyright law, are discussed. Students are exposed to basic business software for developing spreadsheets, business documents and digital marketing presentations. The importance of developing professional business practices is emphasized throughout this course.

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Introduction to Digital Capture :: 6 units This course introduces students to the digital SLR camera, one of the most vital tools for the professional photographer. Beginning with general camera controls (i.e., f-stops, shutter speeds and ISO) and progressing into functions specific to the digital camera (white balance and histogram), students learn to capture the best digital image possible. With an emphasis on mastering basic technical skills, understanding digital technology and building a photographic vocabulary, this course serves as the base of our students’ photographic education. Weekly assignments reinforce technical skills and encourage aesthetic development.

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Majors Offered ::

Advanced Digital Capture :: 6 units This course focuses on advanced electronic flash and lighting techniques applicable in contemporary digital photography. Assignments encourage aesthetic development and exploration. Students work with mixed lighting sources, analyze color temperature and explore off-camera light while developing a body of work to present in portfolio form. Exploring Studio Lighting :: 6 units Beginning with tungsten “hot” lights and progressing to studio strobe lights, students work toward mastering control of light in their image making. Using their digital SLR cameras tethered to computers and hand-held light meters, students develop advanced skills to read light, modify artificial light and capture perfect exposures. From portraits to still-life displays, students discover the endless creative possibilities of studio photography.

Today’s professional photographers need advanced skills, flexibility, the ability to adapt to challenging situations and imaginative, problem-solving skills that allow them to address complex visual questions. The Professional Photography Program curriculum provides a strong foundation based in current digital imaging technology while integrating traditional (film/analog) photographic techniques. You get the wide-ranging technical skills you will need as a professional photographer, and you can choose an area of concentration that matches your interests and hones your creative vision.

Editorial and Corporate Photography

At NESOP, we emphasize a comprehensive understanding of the visual, creative and historic aspects of photography. You are exposed to various experimental and alternative photographic processes. Throughout your formal education, you are encouraged to explore the full range of photographic tools, and you receive hands-on training working on technology currently used in the industry. Digital technology permeates every area of the education, and business concepts and practices within the industry are a major focus of the program.

Visual Journalism

Working closely with our faculty, you acquire the advanced skills necessary to master the diverse areas of your chosen specialization. With the experience of NESOP’s working professionals for guidance, you develop two cohesive, professional portfolios that showcase your Major and Minor concentrations, as well as a clear understanding of (and ability to thrive within) current business potentials and practices.

The Color Experience :: 4 units In this course, students are immersed in the world of color photography. Through color printing, lectures on color theory and weekly analysis of historical and contemporary color photographs, students learn to “see” color and use it effectively in their photographs. Working extensively with traditional chromogenic print processes in the color darkroom, students master color balance and density control in their color prints. Course lectures provide a deeper understanding of color as a medium and weekly assignments offer opportunities to explore the full creative potential of color photography.

Portraiture and Wedding Photography

Documentary Photography Creative Imaging Arts Fine Art—Black & White Photography Fine Art—Color Photography Minors Offered :: Architectural Photography Fashion Photography Advertising and Commercial Photography

Practical Business and Marketing for Photographers :: 2 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.

About Supplies Each first-year student is required to have his/her own small format digital SLR camera, lenses and flashes and a hand-held light meter. 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 small format digital SLR camera and an external hard drive; 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 $7,500 per academic year, but it varies per individual student. This estimate is not part of tuition and is not paid directly to the school.

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Professional Program :: professional results

Advertising and Commercial Photography

Editorial and Corporate Photography Portraiture and Wedding Photography Visual Journalism Documentary Photography Creative Imaging Arts Fine Art—Black & White Photography Fine Art—Color Photography

expose your vision

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Advertising and Commercial Photography :: major In this major area of study, students learn to create unique, high-impact studio images for the advertising and

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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 market work effectively are important

Advertising I: Technical Skills of Light and Design :: 6 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 :: 6 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 shootâ&#x20AC;&#x201D; 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.

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

Advertising III: Creating the Cohesive Portfolio :: 6 units This term is devoted to the continued development and execution of each studentâ&#x20AC;&#x2122;s unique style in the creation of their professional advertising and commercial portfolios. Current trends in the field are discussed and traditional and emerging markets are identified. 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.

4 1 3 2

:: 14

5 6

1 :: David Butler 2 :: Ekaterina Smirnova 3 :: David Butler 4 :: David Butler 5 :: David Butler 6 :: Karen Clunes

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Editorial and Corporate Photography :: major This program examines photography as a communication tool within the realm of editorial and corporate publica-

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tions—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

Editorial I: Study of the Editorial Market :: 6 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 :: 6 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 vs. web-based markets help students develop a solid understanding of the business aspects of this field.

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provides students with a solid understanding of the vast opportunities that exist within this industry.

Editorial III: The Personal Portfolio Class :: 6 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.

4 1 3 2

:: 16

5 6

1 :: Ingrid Prifer 2 :: Jeffrey Sisto 3 :: Dana Tarr 4 :: Derick Belford 5 :: Cassandra Allred 6 :: Krystal Layton

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Portraiture and Wedding Photography :: major This program encourages students to dive into the ever-changing world of professional portrait and wedding photogto 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

Portraiture I: Traditional Portrait Techniques :: 6 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 control. Course assignments emphasize technical skill as well as 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 :: 6 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 and 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 processing of images and working with professional print laboratories. Weekly critiques encourage students to hone their personal vision and further develop their unique style.

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provides a comprehensive education for our students seeking success in this exciting, consumer-driven field.

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raphy. After developing a solid foundation in the technical aspects of portrait photography, students are encouraged

Portraiture III: Creating the Portrait and Wedding Portfolio :: 6 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 contracts, pricing, self-promotion, working with clients, and identifying and understanding different markets complete this program.

â&#x20AC;&#x153;N ESOP is successf u l because t he facu lt y, students a nd sta ff ta ke a n i nterest i n you person a l ly.â&#x20AC;? - Jef f rey Sis to, Clas s of 2 0 0 8 4 5

1 3 2

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6 7

1 :: Jongchul Lee 2 :: Jeffrey Sisto 3 :: Lindsay Gregory 4 :: Kate Femino 5 :: Lindsay Gregory 6 :: Cassandra Allred 7 :: Lindsay Gregory

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Visual Journalism :: major This major area of study challenges students to explore the concept of visual journalism and teaches them to use

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still cameras, video cameras and audio equipment as tools for communication in todayâ&#x20AC;&#x2122;s multi-media 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 own photographs in

Visual Journalism I: Real World Applications and Essential Tools :: 6 units This course introduces the essential tools of the visual journalist and the importance of mastering the required technical skills. Weekly lectures and assignments will introduce the major categories of photojournalismâ&#x20AC;&#x201D;including news (general and spot), features, sports and multimedia storytelling. Throughout the course, students gain a thorough understanding of the industry as well as practical skills like producing and managing multimedia projects, gaining access to events and learning to write as a journalist. Guest lecturers include members of local newspapers, wire services and video producers. Students are encouraged to secure internships with local media outlets or individual journalists.

Visual Journalism II: Capturing the Shot, Developing a Style :: 6 units This course focuses on the creation of strong, visual images that communicate clearly and honestly. Guest lecturers in visual journalism emphasize the responsibility of the journalist to collect evidence and report facts through the use of still photography, video and audio. Throughout the term, students are encouraged to continue developing their unique style. Weekly lectures address ethics and legal issues, digital editing and efficient workflow habits.

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local newspapers, magazines and on the web.

Visual Journalism III: The Visual Journalism Portfolio :: 6 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) plus multimedia stories incorporating all aspects of visual storytelling.

5 6

1 2 3

:: 20

7 8

1 :: Jocelyn Gabriel 2 :: Chris Gagne 3 :: Jennifer Devlin 4 :: Nathan Fried-Lipski 5 :: Jennifer Devlin 6 :: Steve Sangalang 7 :: Jocelyn Gabriel 8 :: Josh Nack

:: 21

Documentary Photography :: major This program examines the use of documentary photography as a communication tool for the visual investigation

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of contemporary issues. Students develop the skills to be effective storytellers with their 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, investing in it and exploring it deeply and overcoming any hurdles they encounter along the way. The various outlets and markets available for documentary photography are identified and

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Documentary I: Exploring the Documentary Project :: 6 units Throughout this course, students explore the concept of documentary photography. Course lectures address what constitutes a documentary photography project, how to tell a story with honesty, integrity and clarity, establishing a unique vision and how to tell a story from a personal point of view. A major emphasis of this course is choosing a long-term project and fully investing in it. Weekly class critique plays a significant role in guiding the progression of each student’s individual documentary project throughout the term.

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the business skills essential to success in this field will be emphasized.

Documentary II: Evolution of the Documentary Project :: 6 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.

Documentary III: The Documentary Portfolio :: 6 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.

“I l i ke to ta ke photo graphers to where t he i m age-m a k i ng tra nscends tech n iq ue a nd evolves a s l a ngu age a nd com mu n ication .” - Michael Hintlian, NE S O P Facul t y 4 5 1 3 2

6 7 8

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1 :: Steph Plourde-Simard 2 :: Nathan Fried-Lipski 3 :: Chris Gagne 4 :: Steve Sangalang 5 :: Thomas Fabian 6 :: Sikarin Thanachaiary 7 :: Ishita Gupta 8 :: Jocelyn Gabriel

:: 23

Creative Imaging Arts :: major Never in the history of photography have photographers enjoyed the high level of creative and technical control over for the purpose of artistic expression, commercial photographic illustration and technical finesse. Using Adobe Photoshop and other related software, they will gain a powerful set of tools for creating work in both web and print

Creative Imaging Arts I: Creative Control and Techniques :: 6 units This class builds upon the first year digital workflow classes. Students take their Photoshop abilities to a new level with an emphasis on developing the techniques required to use the softwareâ&#x20AC;&#x2122;s tools skillfully for a variety of post-production effects. Classroom time is spent on the computer with hands-on step-by-step instruction and skill building exercises. Weekly assignments encourage students to explore the creative and technical possibilities. Areas covered include creative control of the color palette, advanced retouching, layering, masking, multiple image compositing, photomontage, preparation of web content and fine art printing.

Creative Imaging Arts II: Advanced Techniques and Personal Style :: 6 units In this class, students learn advanced Photoshop and imaging skills for both print and web. Assignments challenge students to combine imagination and new skills as they explore their creative style. Attention to visual intent, conceptual expression and technical execution are discussed in weekly critiques. Class work includes handson practice with advanced Photoshop features such as RGB channels for tricolor effects, alpha channels, luminosity masks and working with advanced techniques like displacement maps. Using Photoshop with web design software is also introduced, ensuring that students become web savvy photographers.

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mediums, which are essential in todayâ&#x20AC;&#x2122;s world of creative digital imaging.

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image-making that they do today. In this major area of study, students learn to take creative control of their images

Creative Imaging Arts III: The Creative Imaging Portfolio :: 6 units Creating a portfolio that demonstrates technical skills while showcasing personal style is the key to entering the professional world of creative imaging. This class is devoted to preparing students for just that. Students define and refine their style and advance their skills while creating a body of work for their portfolios. Class time includes weekly critiques, mock presentations, and sessions in editing and sequencing. Lectures include information about the ever-changing visual marketplace, new technology and presenting work and professional capabilities to potential buyers and clients. The final goal of this class is to prepare students to work in their chosen fields and present themselves as professionals.

4 1 3 2

:: 24

5 6 7

1 :: Caleb Cole 2 :: Caleb Cole 3 :: David Butler 4 :: David Butler 5 :: Maria di Nallo 6 :: Skie Fortier 7 :: Derick Belford

:: 25

Fine Art—Black & White Photography :: major This program is designed to extend the technical and visual abilities of students looking to establish themselves as able to them as they discover the visual path of their work—from various camera formats and film types to unique processing methods and the wide variety of paper and other substrate choices. Considering the concept of “art” and viewing artwork of all disciplines through gallery and museum visits plays an essential role in this course sequence.

Black & White I: Advanced Black & White Processes :: 6 units In this course, students begin to identify and explore the wide variety of tools available for the creation of their work. Extensive experimentation is encouraged as students define their process for creating their images. Weekly lectures and discussion help open and broaden the definition of art, while course assignments help students discover their individual paths in creating their work. Regular class critique will encourage students to talk about their work, aiding in the progression and evolution of the art.

Black & White II: Black & White Projects :: 6 units This course is devoted to the investigation of style and a deeper development of each student’s personal aesthetic vision. As students begin to create their own unique bodies of work, they are encouraged to explore a non-traditional approach with an eye on the past, in an effort to promote original thinking. Through the continued study of artwork by contemporary artists, students garner inspiration that leads to selfexploration and provides a valuable context for the creation of their images. Regular individual and group critiques focus on refining each student’s vision as they pursue their creative path.

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All students in this program are required to submit their work to student exhibitions and calls for entry.

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fine art black & white photographers. Students are encouraged to explore the seemingly endless array of tools avail-

Black & White III: The Black & White Portfolio :: 6 units The final term in this program is devoted to the detailed honing of each image to create an artistic and technically perfect body of work. Course lectures and assignments address business issues pertinent to the fine art industry, such as pricing, writing an artist statement and working with gallery directors and curators. Traditional and alternative methods of presentation are discussed; and weekly critiques and work sessions address quality and aesthetic issues as each student portfolio approaches completion.

4 1 2

5 6 7

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1 :: David Butler 2 :: Darren Stahlman 3 :: Darren Stahlman 4 :: Steph Plourde-Simard 5 :: Adam Rich 6 :: Abby Christensen 7 :: Aaron Santos

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Fine Art— Color Photography :: major The Color Major is designed for students looking to develop their skills as visual artists and enter the world of fine

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art color photography. Students are encouraged to master their technical skills while exploring options for a visual path for their work. Business components are integrated throughout this program to emphasize an understanding of individual work in the context of the broader fine art market. This course track gives students the opportunity to explore their creative ideas and develop their images into a cohesive body of work to present to galleries, collectors and other exhibition venues. All students in this program are required to submit their work to student exhibitions and

Color I: Advanced Color Photography :: 6 units This course begins with the question, “What is art?” Through class lectures, discussion and viewing the work of contemporary fine art color photographers, students define the concept of art and employ these concepts in the production of their work. Assignments encourage students to explore their creativity in the images they capture as well as the tools and methods they use to create them. Weekly critiques emphasize the importance of possessing and conveying intention in their work and being able to articulate that intention to the group.

Color II: Color Projects :: 6 units In this course, students are encouraged to push their creativity to the limit in the quest for developing a dynamic body of color photographs. Visual exercises continue to supplement photography assignments that explore and represent abstract ideas and concepts. Gallery visits, reading assignments, research projects and class discussions support students as they strive for color image integrity. Weekly class critiques help students hone their skills and deepen their work.

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calls for entry.

Color III: Color Portfolio :: 6 units Color Portfolio is the culmination of the Color Program emphasizing color technique and visual development. Weekly class critiques assist students in completing their body of work and exploring the creative possibilities of presentation and exhibition. Students examine the process of creating titles for their images and the necessity of writing an effective artist statement. By the end of this course, each student will have created a unique, dynamic and cohesive portfolio of images suitable for gallery exhibition.

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7 8 9

1 :: Caleb Cole 2 :: Caleb Cole 3 :: Caleb Cole 4 :: Jimmey LeBlanc 5 :: Anastasia Cazabon 6 :: Aaron Santos 7 :: Elaine Sakiris 8 :: Jimmey LeBlanc 9 :: Megan Combs

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Architectural Photography :: minor In this program, students gain the technical knowledge and professional skills essential to success in the field of

Architectural

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architectural photography. An examination of the extensive equipment available and the latest digital technologies help students choose the appropriate tools to effectively and creatively capture images. Effective on-location problem solving and the development of an efficient workflow are major components of this program. Business considerations, such as working with clients, legal issues and identifying different architectural photography markets, complete this

Architectural I :: 6 units This course introduces students to the world of architectural photography. Course lectures address the wide array of equipment and methods used in capturing both exterior and interior architectural photographs. In addition, they address solutions for overcoming common challenges like distortion issues and dealing with mixed light sources. An emphasis on designing and styling an architectural photograph as well as creative problem solving on location helps students create exciting images and overcome a variety of challenges.

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comprehensive program.

Architectural II :: 6 units Having mastered technical skills in the previous term, students in this course create dynamic exterior and interior images using their compositional skills and the dramatic use of light and digital post-production. Throughout this term, students hone their skills in both exteriors and interiors to create an exciting, cohesive professional portfolio of architectural photography. Additional weekly lectures address pricing, licensing and other business skills essential for success is this field.

“N ESOP ’s cu r r icu lu m keeps you r nose to t he gr i ndstone. It ’s a ser ious, ch a l lengi ng profession a l pro gra m a nd you h ave to be com m itted to it.” - Gr aham Ing allina, Clas s of 2 0 0 8

5 1 2 3

:: 30

6 7

1 :: Graham Ingallina 2 :: Nicole Bertone 3 :: Krystal Layton 4 :: Pawel Kaminski 5 :: Krystal Layton 6 :: Krystal Layton 7 :: Pawel Kaminski

:: 31

Fashion I :: 6 units Starting with a history of the fashion industry, this course explores the ideas, impact and stereotypes that fashion plays 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, from catalog to runway to advertising. Weekly critique of student work addresses technical issues and encourages creativity.

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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.

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Fashion Photography :: minor

Fashion II :: 6 units During this term, students work extensively with models, modeling agencies and modeling schools. Through weekly in-class photo shoots, students learn how testing, direction, 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 like 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.

â&#x20AC;&#x153;I dem a nd profession a l beh av ior a nd per for m a nce from my students. Beyond th at, my goa l is to h ave a s much f u n a s possi ble.â&#x20AC;? - S tephen Cic c o, NE S O P Facul t y

4 1 2

:: 32

5 6 7

1 :: Philip Frazer 2 :: Krystal Layton 3 :: Luisa Santana 4 :: Dana Tarr 5 :: Dana Tarr 6 :: Philip Frazer 7 :: Amanda Reeves

:: 33

“

Second Year :: supplementals In year two, you have access to a number of elective courses. These course offerings are either completely optional and can be used to augment your education or, depending on your Major and Minor, may be required. They provide additional techniques for your specialization, further strengthening 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.

Portfolio Review :: do you have what it takes?

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 subject-specific experts, the CrossCurrents program enhances the learning experience while providing networking opportunities within a familiar academic environment.

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 and business card 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.

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 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 secondyear students. Advanced Business Development :: 3 units This course is offered as a complement to our full-time Professional Photography Program. Students develop a knowledge base in key areas, such as management, studio operations, advertising and marketing, pricing, selling and finance. Through lecture and hands-on assignments, students define their personal business plan and put into practice the first stages of a working professional photographic operation. During the final class meeting, students will present their completed business plans and supplemental materials to the group. This course is offered as an elective to all second-year students. Electronic Marketing for Photographers :: 3 units In this course, students learn the underlying fundamentals necessary in developing a successful electronic marketing strategy. Hands-on experience with a range of electronic tools available today allows students to develop an electronic business presence for modern success. Weekly lectures and demonstrations help students learn to use social media and social marketing to present their marketing campaigns, join and build electronic communities and learn effective search engine optimization. Students are required to identify their target client base and their product or service benefits; therefore, successful completion of the previous Advanced Business Development class is required to enroll in this course. Creating Digital Presentations :: 3 units Moving images have quickly become an integral part of the photographic industry. Using the powerful video editing software, Final Cut, students learn to integrate their still photographs with audio, text and video, creating dynamic multi-media presentations.

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. Meredith Carlisle, Class of 2004, 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 importance of editing and sequencing is addressed as students work on a term-long project and explore the many tools within the Final Cut software. This is a mandatory supplemental course for any student in the second-year Visual Journalism program. It is offered as an elective for any secondyear student not enrolled in Visual Journalism. Business and Marketing for Weddings :: 3 units This intense course provides students with the advanced business and marketing skills specific to the wedding photography industry. Guest lectures and studio visits offer many different approaches to running a successful wedding photography business. From consultations, contracts and pricing to selfpromotion, marketing and working with vendors, all aspects of the business of wedding photography are addressed. This course is offered as an elective to all second-year students. Zone System :: 3 units This course focuses on the science of how black & white film works by regulating exposure and development. Through weekly experiments and film tests, students develop an in-depth understanding of this technique. An emphasis on controls gives students the ability to calculate and manipulate the medium to achieve the highest level of black & white arts. This is a mandatory supplemental course for any second-year student in the Fine Art—Black & White program. It is offered as an elective for any secondyear student not enrolled in Fine Art—Black & White. Art Since 1945 :: 3 units This intensive fine art theory course surveys the history of art since 1945. Students explore important movements during that time period from Modernism to Post-Modernism, including DADA, Bodyworks, Earthworks and other mixed-media 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. Students will be responsible for a weekly critical response paper and 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.

The week of portfolio reviews and those surrounding 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.

develop your career

Michael Hintlian

faculty

Required Seminar Series :: CrossCurrents

Supplemental Courses :: reinforcements to the year two curriculum

Without exception, NESOP students are among the best prepared.”

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.

:: documentary photography

I have been teaching documentary photography at NESOP since 2007. I see my role to be that of a facilitator—seeing in my students’ work that which they cannot, guiding them to a constant unfolding and inquiry, helping them speak the truth through their pictures. I encourage working in the realm of ambiguity while maintaining a belief system—because, to be effective, the documentarian must take a side. Lewis Hine said that the kind of photographer that comes to documentary wants to show not only what’s wrong with the world, but also what needs to be appreciated. This is true of students in the documentary program at NESOP. They learn to use photography as a verb rather than a noun. They know that the danger of having the answer means that one ceases to grow as an individual and as an image-maker, so they’re constantly advancing their game to the next level. They are keenly aware, and they are constantly examining what they know. The NESOP curriculum provides a structure for fulfilling student dreams, and the individuals that it attracts are amazingly dedicated and diverse. One of my students was a practicing lawyer in Thailand, came to NESOP and produced an incredible body of documentary work. These kinds of success stories are enabled by the richness of our program. It is thorough, offers choice, and demands a high level of discipline and rigor. NESOP students have a strong mastery of technical skills and they work to bring honest, full self-expression to their images. I like to take photographers to where the imagemaking transcends technique and evolves as language and communication. In broader, less directed programs, it’s hard to get there. In contrast, NESOP students stay focused. Their images say something. It’s always what you leave people with. Teaching at other colleges and universities at both the undergraduate and graduate levels has given me perspective. Without exception, NESOP students are among the best prepared. They want it more. It’s a great honor and privilege to be working with photographers who are that driven.

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:: 35

FAC U LT Y BIOGR A PH I ES

The NESOP faculty is composed of men and women of exceptional interests, talents and backgrounds. Their work is widely exhibited and published. Most 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. Luis Brens :: Upon moving to the U.S. from the Dominican Republic in 1990 to attend college, Luis fell in love with photography during his first undergraduate course on the subject. A working fine art and commercial photographer since 1992, Luis holds a BFA in Fine Art Photography and Printmaking from Massachusetts College of Art. He considers himself a multimedia artist, taking a fine art approach to advertising and commercial assignments. His work has appeared in several publications including Vogue, Boston Common and Boston Magazine. Luis sincerely believes in working tirelessly and determinedly in one’s art. As such, when he is not shooting for clients, he is pursuing his personal work—creating self-portraits from a process that combines painting, printmaking (from etching, monoprints and monotype) and photography. Luis has been widely exhibited in Boston and Rhode Island and maintains a long client list including Puma and Bank of New York. Erin Carey :: An alumna of Sarah Lawrence College, Erin earned her BA in Art History and Photography. She completed an MFA in Studio Art through the School of the Museum of Fine Arts and Tufts University, which culminated in her thesis exhibit, “How Much Does the Ground Shake?”—a minimalist investigation into experience and record of trauma. She has extensive gallery experience in exhibition preparation. In addition to her large format photographic work, Erin is currently pursuing her interests in other reproducible mediums as well as academic and creative writing. Stephen Cicco :: Stephen Cicco is a graduate of Bowdoin College with a BA in German and of NESOP with a concentration in Advertising Photography. An avid participant in the arts in one form or another throughout his life, Steve has been an actor and director, a painter and musician, and he has dabbled in filmmaking and video production. From 1982-1990, he served as vice president of Graficon Communications, a small graphic design and advertising agency. Between 1994 and 2000, he served as president of the Fashion Association of Boston. Steve has filled many roles—including account executive, art director and print and media buyer—before opening his own commercial photography studio in 1992 to specialize in fashion and beauty. His work has appeared in Vogue, Time, Business Week and Match de Paris, and he has been teaching since 1979. With his professional experience on both the agency side and the creative side of the table, Steve is uniquely qualified to communicate the realities of the commercial world, from the technical to the political. Glen Cooper :: Glen earned his BS 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 MS in Journalism from Boston University, before becoming a professor in the university’s College

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A DM I N IST R AT ION

T HE ne w england school of photog r aph y

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.

Frank Herzog :: With a BS in Psychology and Philosophy from Houghton College, an MBA 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.

Ronald Cowie :: Ron earned his BS 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 recent 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.

Michael Hintlian :: A dedicated, award-winning documentary photographer, Michael’s projects have taken him across the globe. He earned his BFA from the School of the Museum of Fine Arts and Tufts University and his MBA from the Johnson School of Management at Cornell University. In addition to NESOP, his teaching includes the School of the Museum of Fine Arts and Tufts University. Michael has also been a lecturer and presenter in several venues throughout the U.S. including the Leica Historical Society of America in Charlotte, NC; The Photographic Resource Center in Boston; the Hoboken Historical Museum in NJ; the Institute of Contemporary Art in Boston; WGBH, Tufts University in Medford, MA; and the Griffin Museum of Photography in Winchester, MA. Michael’s work has been widely published in periodicals including The Christian Science Monitor, Architectural Design and Boston Magazine. His work has been exhibited all over the world. Show titles include Armenia/Artsakh, Central Artery/Tunnel Project, Toward a Better Life: Images of the Labor Movement, Big Dig Photographs, Winter and Picture Mourning. His book, Digging: The Workers of Boston’s Big Dig, has been a success in the documentary world. It remains a revealing source of local history and a celebratory tribute to the men and women working America’s most ambitious infrastructure project.

Bruno Debas :: Bruno earned his BA in Liberal Arts from Foyer des PTT in Cachan, France before graduating from NESOP with a concentration in Advertising Photography. After returning to his native country of France in 1984, Bruno started his professional career as an assistant for top French and European photographers, traveling all over the world. He has also worked independently for clients including Lancôme and the Herald Tribune, as well as many top theater companies where he photographed portraits of actors and posters for plays. During this period, he trained in the art of fashion and lifestyle photography and learned how to photograph cars on sets for the French car companies Citroen and Peugeot. In 1985, Bruno returned to the U.S. and opened his own studio. Since then, he has served many local and national clients such as AT&T, Genzyme, Lucent Technolgies, Converse, New Haven Hospital, Zoll Medical Corporation and a variety of banks. He divides his time between his studio and teaching profession at NESOP. William Franson :: William Franson has studied and been involved in art since childhood, developing his passion for photography when his father allowed him to take the family photos. Bill earned his BA in Philosophy from Calvin College and studied photography at The Art Institute of Boston and The Center for Photography in Woodstock, New York. A self-employed editorial/ corporate and fine art photographer, Bill’s clients include Harvard Medical School and East Coast Precision Manufacturing. His list of exhibitions is extensive with work shown in numerous galleries, including: Center Art Gallery at Calvin College; the Danforth Museum of Art in Framingham, MA; the Preston Cutler Gallery in Hamilton, MA; a Texas traveling exhibition; the Center for Photography at Woodstock in NY; the Ashford Warburg Gallery in NY; Massachusetts General Hospital 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’s earned Best of Show in the Texas Photographic Society National Competition.

Sue Anne Hodges :: Sue Anne has studied art and photography. She graduated from NESOP in 1980 before beginning a career in advertising photography. 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 retail clients. At her studio, Sue Anne focuses on studio and stock photography while expanding her business to include other creative and fine art projects for which she has earned many awards. Since 1992, Sue Anne has been exploring and using digital cameras and digital imaging technology. She studied at the Center for Creative Imaging in Camden, Maine. Digital images from her early experiments have been included in Kodak’s Center for International Photography and Centre Nationale de la Photographie, Paris. The fine art of digital printmaking is an important aspect of her use of the technology. Sue Anne’s work has been widely exhibited, most recently in the Redfield Artisans Gallery and Off the Wall Gallery in ME and in Newburyport, MA at the Newburyport Art Association, Laura Coombs Hills Gallery and Hartson Gallery, NNA. Her work has appeared in several Maine publications including Down East Magazine, Portland Magazine and the Bar Harbor Chamber Guide Book. Since 1987, Sue Anne has been teaching at NESOP where she shares 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.

Association. A lecturer on a variety of subjects, Stephen joined the NESOP faculty in 1984.

Stephan Jacobs :: Stephan Jacobs earned his BFA from the San Francisco Art Institute and his MFA in Photography from Massachusetts College of Art. His professional experience includes working as a photo archivist and photo editor, and his projects have received a number of local and national awards and grants. His images have appeared in and been reviewed by many publications, among them ARTNews and The Boston Globe. Stephan’s work is widely exhibited across the U.S. and abroad spanning the Fine Arts Center Galleries at the University of Rhode Island Fine Arts Center and Gallery Kayafas in Boston to Berliner Kulturstiftung in Berlin, Germany. In addition to his faculty position at NESOP, Stephan’s teaching credentials include Massachusetts College of Art and Emmanuel College in Boston.

Laura Pineda :: Laura earned her BA 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.

Nicholas Johnson :: Nick Johnson has been a fine art photographer for over thirty years and has taught at NESOP for over fifteen. 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 in Massachusetts. His work has appeared in Black & White magazine and has been reviewed by Art New England. 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 a self-employed commercial photographer. His professional roles encompass preproduction, shooting and digital post production work in product advertising, architecture, fashion, editorial, event and portraiture. With a client list including New Balance, Siemens and the University of Massachusetts, Adam is in high demand, but enjoys taking time from shooting to lend his expertise in the NESOP classroom. Faith Ninivaggi-Estee :: After earning her BFA from The Art Institute of Boston at Lesley University, Faith made a fast entrance into the photography field shooting for Viacom Outdoor and the Boston Herald. Since then, she has developed and expanded her own freelance business and still shoots regularly for the Boston Herald. Faith remains active in local and national photo associations and communities, and brings the knowledge she gains in these environments into the classroom. Stephen Ostrowski :: Stephen entered the photographic world as a high school student, becoming a photojournalist for the Nashua Telegraph in New Hampshire while also working for a local portrait and wedding business. After graduating from NESOP in 1977, he made the transition into the Boston market as a commercial advertising and editorial photographer. Stephen continued his photographic education by studying at the New England Institute for Professional Photography at the University of New Hampshire. His work has been published in magazines such as Vermont, Vermont Golf, Boston Magazine, Yankee and a variety of trade publications and annual reports. He has created images for clients spanning Montreal, New York, Bermuda and Puerto Rico; and he has received merits from the Professional Photographers

Administration William R. Carruthers Owner, CEO and President Alison B. Geehan Vice President, Business Operations

:: W illiam R. Carruthers Owner, CEO and President

Martha S. Hassell Dean of Students Mark Russell Director of Financial Aid Anthony Sahadeo Director of Admissions Rachael DuMoulin Registrar and Curator of Student Exhibitions Kate Joyce Career and Alumni Services Coordinator

:: A lison B. Geehan VP, Business Operations

Stephen Sheffield :: A native of the Boston area, Stephen is an alumnus of Cornell University, where he earned a BFA in Painting with a minor in Photography. He received his MFA 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.

Abby McCarthy Administrative Supervisor Emily Bray Administrative Assistant

Facilities Arlton D. Figuerido Director of Facilities

:: D avid M. Katz Academic Director

Alyson Mathias Facilities Staff Manager Michael Stanchi Photographic Systems Manager

The Garner Center at NESOP Erin Carey Director of Photographic Exhibitions

Digital Imaging Facility

Dana Smith :: Dana is a widely published magazine photographer, both nationally and abroad. His work has appeared in publications such as Forbes, Fortune, Newsweek, Sports Illustrated, Boston Magazine, The New York Times Magazine, Fast Company, Texas Monthly and Yankee. His work has been showcased in American Photography and numerous galleries. A NESOP alumnus, Dana is affiliated with Black Star in New York. Keitaro Yoshioka :: Keitaro holds a BA from Seikei University in Tokyo and MFA in 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 Center and is an international award-winning photographer.

David M. Katz Academic Director

:: M artha S. Hassell Dean of Students

Sue Anne Hodges Director of Digital Imaging Department Jack Harvey Digital Imaging Department Manager

:: A rlton D. Figuerido Director of Facilities

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A PPLY I NG T O N E SOP

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

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 high school graduates, or the equivalent. Applicants with extensive educational or professional experience in photography may be eligible for advanced placement to the program’s second year of study. These applicants should present a portfolio of their photography to the Academic Director, who will review the work for advanced placement. The school does not discriminate on the basis of sex, race, creed, national origin or sexual orientation. If you need further information or have any questions concerning entrance requirements, contact the school’s admissions department. Admission Procedures 1. Fill out the Admission Application completely. 2. 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: N ew England School of Photography Admissions Department 537 Commonwealth Avenue Boston, Massachusetts 02215 N ote: 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.

3. Make arrangements to have a complete, official high school and/or complete official college grade transcript sent to NESOP. Your official transcript must include the date of your graduation. 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. Admission Procedures for International Students 1. International applicants must supply the following documents: a. Completed, signed and dated Admission Application. 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 from your last school, translated to English. Your official transcript must include the date of your graduation. All documents should be sent, 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 USA

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Note: 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.

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. After 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. Upon 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.

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 :: Editorial and Corporate Photography :: Portraiture and Wedding Photography :: Visual Journalism :: Documentary Photography :: Creative Imaging Arts :: Fine Art Photography—Black & White :: Fine Art Photography—Color Minor Areas: :: Architectural Photography :: Fashion Photography :: Advertising and Commercial Photography :: Editorial and Corporate Photography :: Portraiture and Wedding Photography :: Visual Journalism :: Documentary Photography :: Creative Imaging Arts :: Fine Art Photography—Black & White :: Fine Art Photography—Color This quality of training is achieved in a number of ways: :: Regularly 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

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 1,800 clock hours and have earned a minimum of 102 class units as well as a minimum of 27-39 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 30 hours of instruction and lab time per week, making a total of 900 hours per year and 1,800 hours over two years. Darkrooms and studios at NESOP are open to full-time students 8:00 a.m. to 11:30 p.m. Sunday through Friday and 8:00 a.m. to 7:30 p.m. on Saturday. Class Time: One clock hour is a period of 60 minutes with a minimum of 50 minutes of instruction.

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.

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

Student Advising and Guidance Services

Students must complete their required two-year, 1,800 clock hour course of study within 150% of the program length, defined here as nine (9) ten-week (10-week) terms.

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, they are encouraged to make appointments with the Academic Director or Dean of Students to discuss their concerns. All faculty, staff and administration are willing to help in any way needed. NESOP encourages all students to make full use of this service.

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

Excellent

Points 3.7

B+

3.3

3.0

Above Average

B-

2.7

C+

2.3

2.0

Average

C-

1.7

D+

1.3

1.0

Below Average

D-

0.7

0.0

Failure

Additionally, select graduates of the Professional Photography Program serve as Teaching Assistants (TAs)/Tutors for students needing extra help in their courses. TAs/Tutors are chosen by the faculty and administration from a pool of applicants and are available to students both in and out of scheduled class time. There is no charge to students for use of this service.

4.0

A-

:: Ensuring that the equipment used in training is industry standard and actively used in the photographic field

Incomplete

Withdrawal before term deadline 0.0

:: Fostering a real caring and concern by the administration, faculty and staff for the success of each student in the program

*Neither grade is used to figure GPA.

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.

Housing

0.0

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.

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 Guidebook. 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. For applicants without Internet access, FAFSA forms are regularly available at high school guidance offices and the financial aid office at NESOP. 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), Federal Stafford Loan Program, Federal Parent Loan for Undergraduate Students (PLUS) Loan Program, MASSGrant Program and the Massachusetts No Interest Loan 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. Federal Family Educational Loan (FFELP): Subsidized and Unsubsidized Stafford Loans and the Parent Loan for Undergraduate Students (PLUS) are available through the NESOP Office of Financial Aid to all students who meet eligibility requirements. The federal government pays the interest on Subsidized Stafford Loans while an eligible student is in school, for the first six months after a student leaves school and when a borrower is qualified to have payments deferred. Depending upon financial need and aggregate borrowing limits, a student may borrow up to the annual student loan borrowing limit for his/her year in school. Unsubsidized Stafford Loan interest is the sole responsibility of the borrower. Unsubsidized Stafford Loan borrowers have the option to make interest payments while in school, but are not required to do so. Independent undergraduate students, dependent students whose parents have been denied for a PLUS Parent Loan or dependent students without demonstrated financial need may qualify for an Unsubsidized Stafford Loan. Yearly borrowing limits do apply. Parent PLUS Loans are available to help families meet the educational costs of their dependent students. 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. Massachusetts State Aid Programs at NESOP Massachusetts Grant: The State of Massachusetts determines MASSGRANT eligibility and award amount. Massachusetts No Interest Loan Program (NIL): The State of Massachusetts determines NIL eligibility based upon the information provided in the financial aid application. 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.

In addition to the programs offered above, NESOP’s financial aid office will help students in researching private loan and other 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 financial aid office at (617) 437-1868. Our offices are open Monday through Friday, 9:00 a.m. to 5:00 p.m.

shooting bays that are adjustable/expandable to allow for use in shooting product and tabletop assignments as well as portraits. In addition, students may reserve private portrait studios for their own portrait or fashion shooting sessions. NESOP students work with a variety of lighting and accessories for all applications—both commercial and fine art. Profoto, Photogenic, Bogen Manfrotto, Matthews, Chimera, Smith Victor, Lowell and Mole Richardson are among the many brands students may use and be exposed to during their education at NESOP.

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:

The school’s Student Media Support Lab is located on the third floor of the main building, 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. All buildings on the NESOP campus are connected via Wi-Fi.

1. Earn a minimum of 141 units, comprising a minimum of 102 class units as well as a minimum of 27-39 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 six (6) units must also be earned each term in a photo course other than the Major. 4. C omplete 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. Submit, 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 Department of Elementary and Secondary Education :: A ccredited by the Accrediting Commission of Career Schools and Colleges of Technology (ACCSCT) :: Approved for Veteran Training

Facilities Advanced Facilities—Designed to Enable New Levels of Learning NESOP provides more than 14,000 square feet of facilities set in a vibrant and convenient Boston location. Our facilities offer an extensive digital imaging lab, classrooms, traditional photography labs, private portrait studios and individual shooting bays, 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’ll be using in your career. Among the wide range of industry-standard gear, we offer cameras ranging from 35mm to 8x10, powerful computers outfitted to meet the demands of today’s imaging industry, specialized lighting and a full range of imaging equipment to accommodate students’ needs. Located in the main facility at 537 Commonwealth Avenue are individual

The Student Media Support Lab houses NESOP’s library. This library is a resource center containing various photographic resources—including periodicals, photography books and individual study stations. Rare books and videos are kept in a secured location and access is offered to students upon approval by the Dean of Students. This building also contains the school’s stockroom— fully equipped with industry-standard, professional photographic equipment for student use. The building also houses private film-processing rooms and three gang darkrooms. NESOP is proud of the fact that, along with updating its facilities and equipment to offer the newest imaging technologies, we also offer facilities for traditional silver, C-printing, historical and alternative processes. Our digital imaging facility, located at 650 Beacon Street, is a fully color-managed facility constantly updated with the latest in imaging software and technology. It is made up of two digital classrooms, a digital lab and a scanning room. The lab is staffed at all times by lab technicians who are available to assist students as needed. The digital imaging facility is outfitted with Apple (Mac) computers, Eizo, Apple and LaCie monitors, a campus-wide Wi-Fi connection and Epson printers. All machines in NESOP’s digital imaging facility are equipped with the most current version(s) of a variety of imaging software programs including Adobe Lightroom, Adobe Photoshop, Adobe Bridge, Final Cut, Macromedia Flash, Macromedia Dreamweaver and Photo Mechanic. The scanning room has multiple workstations to accommodate all film formats and print scanning. Scanning equipment includes Nikon, Epson and Imacon film and flatbed scanners. In addition, students have access to specialty equipment such as an Epson large format printer. Each classroom in NESOP’s digital imaging facility contains an instructor station with a digital projector and audio system. The classrooms and lab are set up for printing using color correct viewing stations and lighting.

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 30 hours of instruction and supervised lab per week for a total of 900 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 is not present when

attendance is taken, he/she will be counted as absent for ½ day. If a student arrives late to a six-unit (6-unit) class, he/she will be counted as absent for ¼ day. If a student arrives late to a class worth fewer than six (6) 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 Guidebook) 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 DrugFree 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 A passing grade of D- or better is required for all required courses and students must maintain a 2.0 Grade Point Average (GPA) at all times. GPAs are recalculated at the end of every term, resulting in three times per year and six times over the program. NESOP instructors keep individual progress reports for students. Students may request to see their progress reports and/or inquire about their academic progress at any time during a course. NESOP provides students with formal grade reports, which show individual course grades for the term, a term GPA and a cumulative GPA, at the end of every term, resulting in three times per year and six times over the program. Satisfactory Academic Progress is defined as: 1. having passing grades in all required courses AND 2. a GPA of 2.0 or greater Students must complete their required two-year, 1,800 clock hour course of study within 150% of the program length, defined here as nine (9) ten-week (10-week) terms. Students whose course work is below this acceptable achievement level are considered to not be making satisfactory academic progress and may be dismissed if they receive a grade of F in a required course, or will receive a Notice of Academic Probation and will be placed on financial aid probation (if applicable) if they have a grade point average that falls below a 2.0. Students must bring their grade point averages up to at continued on next page...

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least 2.0 by the end of the following term. If they fail to do this, they will be dismissed from the program. A student placed on academic probation will be notified in writing on the Notice of Academic Probation Form. This form includes instructions for the procedure to be removed from academic probation. It is the student’s responsibility to follow through with instructions on the Notice of Academic Probation, correct the deficiency, have the instructor fill out the grade change form and deliver the form to the Registrar by the deadline stated on that form. 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 who do not meet this deadline will be dismissed from the school. 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 will be documented in the student’s file. Reinstatement Policy If a student wishes to reapply to the program, his/her application for readmission must be made in writing and should consist of an essay, no more than one type written page (one inch margins, single spaced, 12-point font) which demonstrates that the applicant fully understands the expectations of the school and is willing to put forth the effort to successfully complete the program. A portfolio of at least ten (10) photographs, completed since the dismissal date, must be submitted in some cases and at the discretion of the Academic Director with the re-application essay. If the applicant fails to demonstrate a commitment to the successful completion of the program, his/her readmission will not be granted. 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. If 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 seventy-five percent of the tuition, less the actual reasonable administrative costs described in paragraph 7. 5. If 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 twenty-five percent of the tuition, less the

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actual reasonable administrative costs described in paragraph 7. 7. If 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. The 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. This administrative cost consists of $40.00 for processing and $10.00 for overhead. All refunds will be processed and returned to the student within thirty (30) days of the date of withdrawal, dismissal or termination in writing of this enrollment agreement. 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. The school may also charge you for any Title IV program funds that the school was required to return. 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 a tour of the school facilities and inspection of the equipment and receive a refund of all monies paid. Grounds for Cancellation/Termination by the School 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 of Technology (ACCSCT) 2101 Wilson Boulevard, Suite 302 Arlington, VA 22201 Telephone: (703) 247-4212 / Fax: (703) 247-4533

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 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 If, within 30 days, your complaint remains unresolved by the school, you may file a formal, written complaint with the Massachusetts Department of Elementary and Secondary Education, Office of Proprietary Schools. All complaints to the Department must be filed in writing (not via telephone or e-mail) as your original signature is required. Complaints to the Department should be filed on the Department’s complaint form. The Massachusetts Department of Elementary and Secondary Education Office of Proprietary Schools Complaint Form may be obtained through the school (please see the Vice President—Business Operations for a copy of this form), online at: http://www.doe.mass.edu/ops/students/complaint.html or by calling the Massachusetts Department of Elementary and Secondary Education Office of Proprietary Schools at (781) 338-6048. 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 of Technology (ACCSCT), procedures and contact information for this process are outlined below. Schools accredited by the Accrediting Commission of Career Schools and Colleges of Technology (ACCSCT) 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 considered by the Commission must be in written form, with permission from the complainant(s) for the Commission to forward a copy of the complaint to the school for a response. 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:

photography, top to bottom, left to right: © Steph Plourde-Simard, © Lindsay Gregory, © Skie Fortier, © Graham Ingallina, © Karen Clunes, © David Butler, © Steve Sangalang, © Sikarin Thanachaiary, © Nicole Bertone, © Kate Femino, © Joshua Kuchinsky

Accrediting Commission of Career Schools and Colleges of Technology (ACCSCT) 2101 Wilson Boulevard, Suite 302 Arlington, VA 22201 Telephone: (703) 247-4212 / Fax: (703) 247-4533 A copy of the Commission’s Complaint Form is available at the school and may be obtained by contacting Alison B. Geehan, Vice President— Business Operations.

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: Academic Director or Dean of Students Administrative or Operational Issues: Vice President—Business Operations Facilities, Stockroom or Equipment Issues: Facilities Staff Manager or Photographic Systems Manager

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The Application Checklist :: Applying to NESOP is the first step toward your career as a professional photographer. This checklist will keep you on track throughout the process. All Applicants: Fill out your Admission Application completely, including your signature and the date.

nclose the non-refundable $25.00 application fee (payable by cash, check, money order, E credit/debit card—please do not mail cash). you are mailing the non-refundable $25.00 application fee, sign and date your check and If make it payable to New England School of Photography or NESOP. I f you are paying the non-refundable application fee by credit card or debit card, complete the credit card/debit card authorization form. This form is attached to the Admission Application. Make arrangements to have a complete, official high school and/or complete official college grade transcript sent to NESOP.

International Applicants Only :: Please make sure to translate your complete official high school and/or complete official college/university grade transcripts to English, if necessary. International Applicants Only :: Submit a document, along with your application, certifying your ability to meet the financial costs of tuition, photo supplies, equipment and living expenses. International Applicants Only :: Submit a school or test certification of your ability to speak and understand English.

photography, top to bottom, left to right: © Michael Chisholm, © Nicole Bertone, © Yuli Friedman, © Jongchul Lee, © Kate Femino, © Krystal Layton, © Dana Tarr, © Meagan Combs, © David Butler, © David Butler, © Krystal Layton

Schedule an appointment to meet with Admissions for your personal interview and tour of NESOP. you are unable to come to NESOP for your interview, schedule an appointment for a telephone If interview with Admissions. you are mailing your completed application along with the $25.00 non-refundable application If fee, address the envelope to: New England School of Photography Admissions Department 537 Commonwealth Avenue Boston, MA 02215

Design/Art Direction Stormship www.stormship.com Photography* Jongchul Lee * does not include photography credited to students and alumni

About this Catalog ::

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Published February 2009 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. photography from back cover, left to right: © Michael Chisolm, © David Butler

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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.com Expanded facilities located at: 650 Beacon Street Boston, Massachusetts 02215