RIT Big Shot 36 illuminates the Student Hall for Exploration and Development

Hundreds gathered in front of RIT’s Student Hall for Exploration and Development (SHED) at sunset to capture the latest Big Shot image on Friday, Sept. 20. The facility—housing makerspaces, performing arts areas, and high-tech classrooms— presented new lighting challenges for the 36th chapter of the annual photography tradition. But, according to Dan Hughes, the turnout of supporters resulted in a stunning long-exposure photograph of the glass and metal structure.

“We’ve got over 30 years of Big Shot alumni who have participated in the event to help us make these once-in-a-lifetime images,” said Hughes, lecturer and lead coordinator for this year’s Big Shot. “It was a beautiful dance of lights, and each participant played their own part in capturing the image by helping to illuminate the SHED.”

Participating in the Big Shot, which is led by RIT’s School of Photographic Arts and Sciences, has become a tradition for many participants who return each year to support the project.

“I think people tend to come back because it’s a really visceral experience. We’ve got a few hundred people who are all working together in tandem for 60 seconds to make an all-encompassing image. When you’re there in person, you get immersed in this truly collaborative moment,” said Hughes.

The Big Shot, described as “painting with light,” engages students and community volunteers by asking them to provide a light source while RIT photographers capture the image. First-year students Ryleigh Pedley and Aubrey Smith participated in the tradition for the first time this year.

“This is my first big photo event and I’m super excited to be a part of this tradition,” said Smith, an advertising photography major from Athens, Pa. “I think it's a really great time to bond with other people and create some friendships.”

​

‌

Travis LaCoss

The Big Shot team set up an array of cameras on the roof of George Eastman Hall to photograph the best angle of the SHED.

Pedley, from Lewiston, N.Y., added that participating in the Big Shot was an interesting way to see the skills she’s learning as a fine art photography major in action.

“In one of our classes right now we’re working on a studio lighting assignment, and it’s really neat for this whole project to be happening at the same time,” said Pedley. “I think it’s super cool being able to experience the techniques that we practice in a studio on this massive scale.”

Tiffany Brodner said that the SHED being selected as this year’s venue for the cherished Big Shot tradition was incredibly meaningful and filled her with immense pride and excitement.

“The significant student engagement Big Shot draws perfectly aligns with our unwavering commitment to placing students at the very center of all we do here at the SHED,” said Brodner, executive director of the SHED. “I would also like to express my appreciation for the collaborative efforts with various partners across RIT managing many details in the background.”

The event was part of RIT FallFest and was sponsored by the College of Art and Design’s School of Photographic Arts and Sciences, NTID’s Department of Visual Communications Studies, Nikon, and the Estate of Henry D. Navas MBA ’74, MS ’77 and Deborah L. Robbins.

To learn more about the project and view past Big Shot images, go to the Big Shot Facebook page or the Big Shot webpage. 

About RIT Big Shot

RIT started its Big Shot project in 1987. The event has traveled to several national landmarks and twice crossed the Atlantic Ocean. Through their viewfinders, RIT Big Shot photographers have captured landmarks in the United States such as Kodak Tower in Rochester; Churchill Downs in Louisville, Ky.; the Alamo in San Antonio; and the Smithsonian National Museum of the American Indian in Washington, D.C. Internationally, the RIT team has captured Pile Gate in Dubrovnik, Croatia, and the Royal Palace in Stockholm, Sweden.

​

‌

Big Shot team

Before Big Shot participants illuminated the SHED, all the lights in and around the building were turned off so the team could authentically capture the long-exposure photograph.