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“Miriam Van Waters, the first superintendent at Massachusetts Correctional Institute Framingham (in 1932), was insistent that they not use this unfortunate period in their lives to form their identity,” the photographer told 【 - Free Access to Community 】 in a video interview, relaying the Massachusetts’ prison’s early objectives. “To foster that, she tried to make it look like home. For that reason, (when I was there) the inmates wore domestic clothes and prison guards were also un-uniformed. Often the same age as the prisoners, many of them were studying criminal justice at Northeastern University, a co-operative college.”

Established in 1878 as a reformatory confining women for the crime of having children out of wedlock, by the 1970s much of the prison’s population were being held on counts of shoplifting and sex work, or as accomplices to crimes of male companions. As per Van Waters’ previous intentions, the facility was at that time the site of many experiments in rehabilitation, an effort intended to reduce the psychological toll of being incarcerated.

Lueders-Booth arrived in 1977, initially to spend just a year running a photography course as part of his master’s thesis for Harvard’s Graduate School of Education (though already lecturing at the college, he didn’t have a teaching degree). “I had specific ideas about what I wanted to do,” he recalled. “Teach photography to people in institutions of confinement, as a way of increasing morale and teaching them a skill.” The invitation to MCI-Framingham was serendipitous: another Harvard professor headed up a prison arts project and happened to be looking for someone to initiate a photography course.

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He would end up staying on at Framingham for seven years, only concluding his workshops in the mid-80s, in which time he had become an accepted feature amongst staff and inmates alike. “I had increasing access and became quite trusted by the administration. I was doing photography for them, making portraits for their annual reports, and sometimes processing family photographs,” said Lueders-Booth. “Over the years, my photographs were appearing on their walls as part of their photo collections, which was very rewarding. I felt I was contributing something, and that was important.”

“The women and the unusual character of their lives kept drawing me back,” he continued. “It became an education, about this prison but also the unfairness of the system and how much depends on the womb factor — where you come from, how you were nurtured. Many of the incarcerations were economically determined. So I came to appreciate the humanity of it, really, that was the largest thing. That these women were very much the victim of circumstances.”

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