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This is a portrait of former RIT photography professor Leslie D. Stroebel. It is a black and white image taken by former RIT student Leslie McPherson, and is mounted between matboards.
Materials related to RIT's Big Shot Project, a nighttime community photography project started in 1987 and designed to teach students about electronic flash photography at the Rochester Institute of Technology. The collection includes photographs, negatives, event invitations, publications, planning documents, correspondence, assorted memorabilia, related material and posters.
Materials related to Stuart Oring, photography student at RIT from 1955-1959. The collection is focused on the "Picture Reading Resource Module," a computer program researched and developed by Oring, and includes CDs, teacher guides, and information books.
The collection consists of photographs from the RIT School of Photographic Arts and Sciences class of 1964 alumni exhibit titled “Exhibit ’64 Old Dogs Learning New Tricks” The exhibit illustrated similarities and differences between their work in 1964 and today and features older printing processes as well as recent photographic printing processes.
Collection of seven photographs by Patti Ambroggi from the series The Cover Girls: Women in History and The Geographies of Desire: the Rebel Forest. Ambrogi teaches photography at Rochester Institute of Technology.
The John Retallack Colleagues portraits consist of fifteen black-and-white portraits of RIT faculty. The portraits are 13 x 11 inches and each is matted. Also included is a 32 x 24 inch poster printed with 6 of the portraits used in the book, Colleagues.
The Photography in Cuba photographs consist of twenty-four matted color prints of Havana, Cuba and other small towns, taken by 20 RIT students and faculty during Spring break 2004. In 2016, Photo professor and faculty guide to Cuba deposited additional student photographs from 2004 and also from the 2014 trip.
This collection is comprised of three tintype (wet collodion) of snowflakes, captured and printed by Michael Peres and Willie Osterman. Photographs are mounted together and matted in black.