Rick Wright has been instrumental in heightening the quality of instruction here at Project Basho. We recently had a conversation with him about his upcoming class titled “Photographic Method: Color and Shape” starting March 11th.

- Why is it important for photographers to study composition and color?

Henry Peach Robinson once said that the goal of composition is to “agreeably lead the eye across the photo.” Composition is the bones/skeleton/armature of a photograph and provides movement, energy, and communication. Without an eye towards design, an otherwise great photographic moment can lose its power and force. Color needs the same attention as it shapes the emotion, story, and expression of photography. Good awareness of color and judicious use of the “palette of color” can play a vital role in simplifying the communication of any image. 

- Who is the ideal student for this class?

Any student who is eager to escape the trajectory of everyday postcard and snapshot-type photographs. The most common complaint I get from students coming to my class on the first day is, “I see something really great in front of me, I take the picture, and then I find the image has nothing special whatsoever.” Anyone who has ever had this thought is the perfect student for this class!

- How would you describe your teaching style?

My teaching style is very immersive and loose. Organic. Each class will start with some form of hands-on activity like drawing, working with color squares, or listening to music. I believe that there are MANY ways to learn new material, so you will not be sitting through three hours of slide lectures during each session. While the curriculum is somewhat set, I am adaptive, and I’m happy let some class sessions move in new directions, should great teaching moments arise. 

I do NOT hand everything over to the student and have them memorize everything. The student has to work hard to find and “earn” new ideas during the class sessions.

- What will students learn in this class?

Students will learn the foundations of classic composition, of course, but they will also learn how important it is to avoid being slavish to the classic models. We will be building our own vocabulary in composition and color as we move through each session. Above all, students will learn how to think and see more clearly. They will learn just how powerful and thought-provoking composition can be, and how rich a role color can play in imagery. 

This is not a printing class or an overly technical class, but I am always open to any techie questions during the sessions.

- What kinds of assignments will there be?

Assignments are designed to be somewhat open-ended and give room for lots of exploration. For our first assignment, students will shoot in black & white and start to see the world for its tones, patterns, and hidden “architecture” via innovative vantage points and basic rules of design. In our first color assignment, we’ll be simplifying our color use to 1, 2, and 3 colors, seeing just how powerful a photograph gets when color is reduced!

- Can you think of anything else that a potential student would want to know?

I endeavor to see the creative spark in every individual. The class is serious, true, but also loose and fun. We’re entering into an adventure, with the opportunity to make stronger, expressive images.

Sign up Now »

— Who do you see as the ideal student for this class?

Tsuyoshi: It has to be someone who wants to grow as a photographer in a fundamental way. This is the most critical.

Also, students already have to have a good technical foundation, as this class will not cover that. They should be comfortable with their own camera and have some level of post-production or darkroom experience.

— What advantages/disadvantages are there to taking a 6-month class that meets once per month, as opposed to, say, a 6-week class meeting every week?

TI: To me the challenge is to figure out how people learn, and figure out how can we provide the tools or environment in which students can learn most effectively. These are questions that I am always trying to solve. But at the same time, they remain a mystery to me.

It comes down to the fact that there is no one right way to learn things. Some people get it very quickly, while others get it later on, long after the class has ended. These ways are all good, and they are all different.

So, spending six months together, which is a decent amount of time, helps us to be inclusive of everyone’s learning style. I think this is possible because there is ample time to reflect upon what happens in class. That is the key, I think.

— What exactly do you mean by “photographic vision,” and why is this important?

TI: To me, photography, as a part of visual art, speaks a certain kind of language. Different from painting or video, for instance. If you compare the experience of seeing different mediums side-by-side, the differences become more apparent.

If you are into photography, that is something that you have to be aware of, whether you utilize it or not. So, in this class we will try to learn the “subtleties of the language,” so to speak. Or, what photography can envision. Thus, “photographic vision.”

— What kind of progress can a student expect to make by taking this class?

TI: I hope that after taking this class, students will be much more aware of the decisions they are making and, equally importantly, not making. So the whole process of creating and selecting images becomes much more intentional.

This is a huge progression in learning that people do not seem to emphasize. To me, photography cannot be reduced to tricks or technical gadgets. I guess these days, people don’t want to talk about something that takes such a long time to understand.

— What kind of assignments will be given?

TI: In order to be aware of the decisions you are not making, you need to be constrained. So, with these assignments, you are free to photograph anything you like, but within some sort of constraints.

— How much time will students be expected to put in outside of class?

TI: There is no set amount, of course. We have ample time between each in-class meeting. So, you can work on assignments at your own pace. First, these assignments will be challenging enough to make you go really slow. That is what they are supposed to do.

Having said that, this is a kind of class where you do not get a grade. So, I always think the more you put in, the more you get out of it.

— How will the class offer inspiration?

TI: I am preparing several components that will generate discussion about photography at large, from guest photographers to reading materials/videos. I hope they will be inspiring to students in the class.

Sign up Now »

© Greg Miller

And though it may not be sexy or romantic enough to merit a lot of attention, editing is unquestionably important.

For instance, the average photographer might not think twice about investing time and resources into developing their shooting technique. But editing is frequently the area in which experts go whole hog —  hiring someone to review their work and select images fit for a commercial portfolio or book publishing.

An objective eye can be a photographer’s best friend, after all.

Greg Miller, a veteran photographer and 2008 Guggenheim fellow, is a big fan of editing, and he wants you to share his enthusiasm.

This fall, we’re proud to announce that Miller will instruct a workshop at Project Basho — Photographic Storytelling. A season’s worth of editorial tips, tricks and individual critiques await you in our fundamental course.

Designed for intermediate to advanced photographers, Photographic Storytelling will help you deftly edit and cultivate story threads from your body of work, fine-tuning your images and artistic approach under Miller’s tutelage.

For aspiring or commercial photographers, Miller will also cover strategies for successful book and commercial portfolio editing.

If you’ve ever wondered what people “get” from your photographs, or if you want to learn editorial techniques from an industry leader, Photographic Storytelling is an intensive, hands-on course guaranteed to elevate your craft.

A deep understanding of shooting and editing is essential for any photographer, so tackle the latter in our gem of a workshop. Editing may be underrated, but it’s also fun. And a weekend with Miller is not to be missed!

Who Should Enroll:
Our workshop is ideal for mid-career or advanced photographers with an existing body of work.

What You’ll Need:
20-40 5×7 work prints

When It Meets:
Sat. and Sun., October 13 & 14, from 10 a.m. to 5 p.m.

Sign up Now!

Greg Miller Workshop at Project Basho from Project Basho on Vimeo.

Dramatic lighting with a combination of flash and natural light ©Arlene Collins

For many, flash photography is an unfamiliar frontier that looms largely in the distance, daring us to try it on for size. Some accept this challenge, learning to tame and use flash to their advantage. Others retreat.

While it’s true that flash is more complex to manipulate than ambient — or naturally available — light, it also raises the bar, literally exposing new and intricate worlds.

Portable, wireless flashes are cost effective and convenient ways to improve your lighting style and technique. They’ll happily tag along while you shoot candid images in the field and slip into your bag for a portraiture session.

Because light is the language of photography, understanding flash is akin to writing an elaborate scene that you also direct. Flashes are stylish, impactful tools that ultimately put the control in the hands of the camera operator.

So if you’re tired of shooting at the mercy of the sun, learn to be your own boss in our weekend workshop, Mastering Flash Photography

Instructed by world-traveling veteran photographer Arlene Collins, our nuts-and-bolts workshop covers everything from flash and strobe options to on-location lighting techniques and enhancement effects.

A thorough mastery of flash will put you squarely in the driver’s seat, and it’s also good fun.

Who Should Enroll:
Our workshop is ideal for anyone who wants to learn to incorporate flash in his or her technique.

What You’ll Need:
Your camera and flash unit; light modifiers; a manual or two (just in case) and some extra batteries; pen and notebook; and a handful of images — print or jpeg — that illustrate lighting problems or successes.

When It Meets:
Sat. & Sun., August 25 & August 26, from 10 a.m. to 5 p.m.

Sign up Now!

Same condition without flash ©Arlene Collins

(In)visible Spaces, a two-person exhibition featuring photographs by Ales Hlousek and Sarah Kaufman, winners of ONWARD ’09, opened at Project Basho last month. The exhibition is the first in a series of two-person shows awarded to the winners of ONWARD Compé. Hlousek and Kaufman were chosen by Peter Barberie, Curator of Photographs at the Philadelphia Museum of Art.

Dealing with the opposite realms of public and private spaces, Hlousek and Kaufman’s work seen together offers an interesting visual journey through our inner and outer worlds. Focusing on Toledo, Ohio, Hlousek’s series of large-format color prints addresses issues of urban planning and entertainment in contemporary society, asking us to consider why we so often neglect the places we call home. The work is purposefully dry and objective, but not without implication.

Opposite to Hlousek’s barren, unpopulated landscapes of a diminishing American city, Kaufman brings viewers into the homes of strangers — all of whom are photographed in the nude. There is a striking sense of intimacy in her series, which exposes the otherwise unseen moments of her subjects’ daily lives. Luminous and colorful, Kaufman’s photographs are formally interesting and beautiful. As is also true with Hlousek’s work, minimalism is at play, leaving the photographs open to interpretation.

The meaning of each body of work is, in other words, as much about what we bring to the table as what we are shown. And thankfully so. Whether projecting your own backstory onto one of Hlousek’s empty lots or relating your homelife to one of Kaufman’s subjects’, it’s hard not get lost in these photographs.

Both Ales and Sarah were kind enough to discuss their work with us. You can hear the interviews below. (In)visible Spaces is open through July 29th.

This summer, we’re rolling out our brand new workshop: Introduction to DSLR Video. But before we dive in, let’s review. DSLR means digital single-lens reflex — another way to say that your DSLR camera is a powerful little machine that can do a lot.

In the past few years, you may have noticed that DSLR cameras have gotten better, cheaper, and are equipped with more capabilities than ever before — an all-around win for professional photographers and hobbyists. Before, for example, DSLR cameras could only capture still images, and photographers who wanted to shoot images and video were forced to lug two cameras into the field — a feat in itself. Now, DSLR cameras easily transition from still to moving images, allowing us to tell compelling, dynamic stories that extend beyond a single frame.

As a result, DSLR video is an emerging medium that bridges still photography and movie making, offering nearly endless options for multimedia and personal use. Think of the possibilities.

But the rapidly expanding functions offered by our DSLR cameras, such as capturing stills and video footage of the same subject, also require new skills that differ from the ones used for still image-making alone. And when it comes to shooting video, many of us are left wondering how exactly to make our cameras do all the cool things we know they can — a growing, jargon-laden list that includes live preview, timelaspe and HD footage.

If all that stands between you and a DSLR video-making exploration is a primer or two, then we’ve got you covered. Our workshop, instructed by veteran photographer and media artist M. Wesley Ham, is a hands-on way to cover the basics while learning how to optimize your camera for moving images.

Trust us, this is one video shooting extravaganza you surely don’t want to miss. Sign up now.

Who Should Enroll:
Our introductory workshop is ideal for all. Professional and amateur photographers welcome.

What You’ll Need:
Your DSLR camera and an open mind.

When It Meets:
One day only: Sun., July 15.

Sign up Now!

What was the idea behind Project Basho?

I was living in Philadelphia after graduating from Temple and wanted to start something that would be a center for culture — where people could gather together because of their love for something. I tried different formats with my friends, like assembling a group to share their work monthly, and organizing exhibitions in abandoned buildings. After some thought, I realized I should stick to photography, but the idea for Project Basho was born long before then.

Why was Philadelphia the ideal location?

When I started Project Basho, there was no place in Philadelphia to learn exclusively and extensively about photography. At the time, I commuted to New York for advanced workshops, learning from people at the forefront of the industry. So I thought I could contribute something here at home.

What does Project Basho mean?

In Japanese, Basho means “a place,” but it’s more like “locus,” or center. Basho is a place where people gather. I tell people it’s a place of photography.

Looking back on the decade, what are you most proud of?

We offer quality educational opportunities for people who want to learn about photography, and we teach about 400 students each year, which is significant. But what we do also spurred more competition, raising the quality and the amount of opportunities available in Philadelphia. I think people have more opportunities to learn locally than ever before.

What excites you about the future of Project Basho?

We have been soul searching for a long time, and I know that we want to keep focusing on photography education — but education is changing quite a bit. I am curious to see if we can be agile and adaptive enough to keep doing what we do. These days, this challenge is what excites me the most.

What do you want people to know about Project Basho?

Project Basho is a pretty unique place. It combines the art and technical sides of photography and does not reduce photography to a matter of software or hardware tricks. The instructors we work with have backgrounds in both the art and commercial sides of photography, and we always strive to maintain a balance.

We are also an integral part of the photography ecosystem in Philadelphia. We work with many volunteers, including recent graduates from local colleges, giving them opportunities to learn how we run our organization. We also hire local photographers and MFA graduates to teach here, helping to support their livelihoods as working photographers and artists.

To celebrate our birthday, we want to collect your Basho stories. Poems, artistic renderings, and random thoughts are also welcome. We’ll publish the best ones. And to keep up with our most recent happenings, follow us on Twitter and like us on Facebook.

We know a photograph is not as simplistic as a sandwich, but just as a great PB & J depends on the balance and interplay of its ingredients, so does a great photograph. And for the photograph, the ingredients are form and content.

Loosely defined, content is the person, place or thing captured in the image. Snapshots of giggling babies or family reunions are good examples of content-focused images. So is most photojournalism. Form is the way in which the image is achieved and often focuses on composition, light or lens usage. While many artistic photographs address form, it remains the more neglected of the pair, mainly because it requires skill and forethought.

Sometimes, beginners are more attuned to content, focusing their craft on the substance of the image. But recognizing the merits of both is a valuable asset for any photographer, especially those who want to take their work to the next level.

In our hands-on course Form & Content, students will explore and define these elements, acquiring the skills to objectively dissect and evaluate images, including their own. Field assignments and dedicated class time for critique will provide a solid foundation toward the mastery of form and content.

Ideal for photographers with a working portfolio and an open mind, we’re confident that you’ll walk away satisfied. While nearly anyone can slap together an edible PB & J, the makings of a good photograph require attention and finesse. But the reward is far superior, leaving you sated in a way that a salty-sweet sandwich never could.

Sign up Now!

If you’re like most people, deciding to pursue your passion for photography is the first step. Easy enough. Then, you’ll likely need to decide where to enroll, maybe entertaining a course catalog or two . . . and that’s when things can get hairy. Choices – and more choices – abound. How to choose wisely?

While there’s no rule of thumb, we wanted to offer some practical tips to help you eliminate the guesswork.

First, consider the format.

These days, variety is abundant. Weekend and accelerated courses cater to jam-packed calendars and are well suited for the overly scheduled. Condensed courses are generally high energy, so if getting-it-all-in-now resembles your personal motto or if you enjoy laser-like focus, this may be the format for you.

For those who prefer a more relaxed approach, courses that run for several weeks offer many benefits. Opportunities to ruminate on the course material and apply your new skills are just some of the ways. At Basho, access to our studio is available for the length of your course (no additional cost!), so ultimately you’ll have more time to practice what you’ve learned. And, if meeting – and gelling – with classmates tops your priority list, a longer format is ideal.

Next, art vs. technical.

Often, our first-time students grabble with where – and what – to begin. Some are strictly interested in learning how to manipulate their cameras for optimal use. Others want to develop their “eye” to frame and shoot stellar images.

For technical people and newbies still gingerly cradling their cameras, we recommend one of our tutorials, which are personalized, three-hour sessions. Afterward, many students choose similar technically themed courses, such as Photography in Practice and Digital Photography: Shooting and Editing.

For the art folks and for students whose interests involve the happy marriage of art and technique, courses like Foundations of Digital Photography and Digital Photography: Intensive offer aspects of both. Most photographers prefer one camp to another, but if you’re unsure, we’re always willing to walk you through it.

Of course, the most important factor is you. And if you’re planning to invest in yourself, a little homework goes a long way toward finding your best fit.

Andrew Kahl

Photography enthusiasts and aspiring gastronomes take note: “Plate to Lens: Food Photography,” our three-week course on the artful marriage of photography and food, is now enrolling students.

Philly is a serious food destination, whether your pick is fine dining, hometown classics, or farm-to-table bounty. If you spend your free time eating your way across Philly’s ethnic enclaves, trolling farmers’ markets or whipping up three-course meals as a de facto home chef, our course will take your passion to the next level. Instructed by Andrew Kahl, a foodie at heart and industry veteran who doubles as a culinary photographer, “Plate to Lens” will teach you the tips and tricks used by the pros . . . while expanding your eye and broadening your palate.

Ever wondered why professional food photographs look better than the real thing?

“Plate to Lens” will introduce you to the fundamentals of food and prop styling. You’ll also put your new skills to use, styling – and later eating – a medley of creative dishes. Shooting food in our studio and in dynamic, real-world environments, students will consider the elements that make for a successful photograph, using light and the lens to convey the flavor, texture and sheer deliciousness of every dish.

Don’t miss out on the opportunity to indulge! Our course will lend your food exploits a new medium, allowing you to capture awesome images while meeting (and nibbling) with like-minded foodies.

Who Should Enroll:
Our course is ideal for all, including novices, still life aficionados, and anyone who works in the food biz – writers, bloggers, restaurant owners, chefs, servers, and sommeliers. No previous photography work is required, but you should have an idea of how to operate your camera.

What You’ll Need:
In addition to a hearty appetite, bring your digital camera; memory card (4GB or more); pen and notebook; and macro lens, if you have one.

When It Meets:
Beat those Monday blues . . . on April 30, May 7 & May 14, from 7 p.m. to 10 p.m.

Sign up Now!