We don’t see things as they are, we see things as we are
— Anais Nin

The Art of Travel Photography Workshops:
How to consistently create emotionally compelling travel, landscape, people and wildlife images


workshop_program4v2.jpg

Los Angeles based travel, fine art and commercial photographer Lorne Resnick, winner of the Travel Photographer of the Year award, teaches workshops ranging from twelve-day trips to Cuba to four day trips to Death Valley National Park – as well as one-on-one sessions at his studio in Los Angeles.

Learn the concepts and techniques to consistently create powerful and compelling travel images. Whether you enjoy shooting wildlife, landscape, people or any other kind of travel images, Lorne will explain what goes into consistently making great images - from proper digital exposure to a complete digital workflow solution to finding and shaping your personal artistic voice.

Lorne’s workshops are geared toward every participant's skill level. Whether you’re a novice or a pro, Lorne will not only have you generating more compelling images but will also give you the structure and understanding to enable you to continue refining your skills once the workshop is over. The goal of each workshop is to have you creating images with a greater sense of purpose, in your own style and voice. Every day you’ll enjoy shooting in some of the most beautiful places on earth, while building a portfolio of impactful, striking images with Lorne’s guidance.

To see Lorne's full photo workshop schedule, go here.

About the Workshops:
“If we can step back for one moment and put aside how much fun we all have taking pictures (and if you’re not having fun, you're doing something wrong) and ask – what is it we want to achieve with the images we have created?"

I feel the most memorable images, the images we go back to again and again, the images we hang on our walls, the images that resonate deeply within us, are the images that move us emotionally. They make an emotional impact in us. If coffee has been referred to as a caffeine delivery system, then the best photography should be looked at as an emotion delivery system.

I believe you can divide almost every image you see (especially travel images) into two categories. There are many ways of naming these two categories; Emotion vs Information, Lyrical vs Literal, Vision vs Record, Interpretation vs Documentation. It's the difference between “I was there and saw this” and “I was there and felt this”. It goes beyond capturing the essence of a subject - it's capturing your vision and feelings about that subject.

The key is how to make someone else who wasn’t standing next to you when you took that image of the elephant in the middle of the Serengeti, feel the same way about it that you do. You have your emotions already tied up in that image because you were there when you took it. You remember the long flight, the sound of the elephant's legs swishing through the grass, the heat of the African sun, the smells. How do you create an image, so impactful, that it communicates the emotion of how you felt when you shot it, to someone who wasn't there?

When you have mastered the elements that go into creating emotion driven images, traveling becomes a thrilling exploration of your own vision. This is the main focus of my workshops. Purposeful seeing. Purposeful vision. Creating images for the purpose of, not showing someone what you saw, but rather generating an emotional response in them. People, in the end, don't want to see another image of a waterfall, flower, lion, etc., People want, desire and will pay (fine art prints, books, stock sales, etc.,) to be moved by someone’s personal vision. A snapshot documents the information about a subject, but not the emotion. However, the purposeful use of various elements (frame, light, technique, moment, etc.,) can transform that image into what a great photograph really, in the end should be; a communication of your personal vision which has the ability to impact someone emotionally. In effect you are using your vision, technical knowledge and unique point of view to create an image that transcends the subject. An image that moves beyond just communicating to someone about another culture or place and resonates with them on an emotional level.

This is the thrust of the workshop. Learning how to shoot emotion, not information. Learning how to shoot with a lyrical eye instead of a literal one. Learning how to create these kind of images with purpose.

During the workshop a heavy emphasis is placed on creating images with "purpose". We will look at how you approach your image making and what are the basic elements of a successful image. Portfolio reviews and learning how to critically analyze images are an indispensable part of this skill set. In the end, it's about finding your vision and voice.

Here's what some participants have said about Lorne's travel photography workshops...

testimonial swoosh on black.jpg

I'd say I've been on about ten photographic trips...and I would definitely put this trip among the top...two. I was going to say one, but it seems like I might be exaggerating, but I can't think of another one that was as good as this!
Jeff - Santa Barbara, California

testimonial swoosh on black.jpg

Lorne is very creative and very sharing...he shares his knowledge with all the participants...there is no limit on the amount of time he will spend with you, no limit on the amount of detail he will go into with you. It's a wonderful workshop, a lot of fun and the surprises he comes up with will blow your mind.
Tom - Columbia, Illinois

You can see more testimonials here.

General Details:
Below are some subjects that have come up in Lorne's previous workshops. Topics covered will depend on available time and individual participant interests.

Shooting:
• The 8 keys to creating emotionally compelling images
• Critical analysis of photos
• Unusual lenses/cameras/techniques – tilt/shift, wide aperture, Diana, blurs, etc.
• Equipment selection – camera, lenses, digital storage options, software, printers, etc.
• Raw digital capture and processing
• Shooting digitally – image size, sharpening, ISO settings, etc.
• The travel story arc – what to shoot and how to shoot it
• Shooting with today's sophisticated, visually overloaded audience in mind
• The Eiffel Tower paradox – how do you shoot an original image of an iconographic object
• How to shoot with market synergy in mind (to sell the same image in several different markets at the same time)

 Cuba

Cuba

Creativity:
• The creative process
• What and where is creativity?
• How to access it.
• How to use it to move your image making to the next level

 Death Valley

Death Valley

Workflow:
• Time management
• D.A.M. (digital asset management)
• Backing up your work – understanding how coincidental errors and cascading events can affect your data
• Organizing and cataloguing your images
• Computer hardware selection and configuration – speed vs. cost and striking the best balance
• Monitor calibration
• Proper file naming and assessing your system breakdown point
• Using Lightroom to catalogue, edit and process your images.
• Keywords and Metadata
• Image processing – batch actions, special effects
• Copyrighting your work
• Color managed workflow from input to output
• How to make perfect prints without the headaches.

 Monument Valley

Monument Valley

Fine Art:
• Numbering and sizing editions – how many and what size?
• Signing and titling prints
• Pricing your work
• Certificates of authenticity
• What actually makes a fine art image? What makes an image someone will pay to have?
• How much to sell your prints for?
• How to produce a print that will be accepted in the fine art world. What paper and printer to use

 Africa

Africa

Publishing:
• Posters – submissions, contracts, proofing
• Book publishers – building a dummy book, generating a publishing proposal, financing
• How to find a publisher
• Self-publishing
• Raising money for a project
• Creating a working dummy book
• Creating a proposal
• Shopping it to publishers
• Contacting sponsors

workshop_program6.jpg

Stock:
• Royalty free vs. rights managed
• Image tracking
• Agency selection
• Digital capture requirements
• Selling stock yourself
• Submitting images
• Workflow and image preparation
• Editing

Marketing:
• What markets are available as outlets for travel work?
• Websites – building a site, optimizing images, search engine optimization
• Portfolio development – using inkjet printers and/or print–on–demand publishers, image selection, pairing and flow
• Portfolio image selection – examining the difference between a good image and a marketable one
• Portfolio type – physical vs. online
• Bartering trips
• Contests – which to enter and how to publicize your wins.

workshop_program7.jpg