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 safaris in Africa to five-day trips to Yosemite 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 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.




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

“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?"

We all want to take great images, beautiful images, interesting images... but like many things in life, if you are able to define and refine exactly what you are after, you are more likely to get it. 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 and 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.

Additionally, in case you haven't noticed, photography can be an expensive passion. So, we'll talk about making the right equipment choices to move towards your goals and where it's best to concentrate your time.

I have taken several multi-day photography workshops and by far, I have enjoyed yours the most. I appreciate your style, talents and managerial skills in leading a workshop and as importantly, your gift of working with participants to foster a photographic vision and skill set that are unique to the individual.

The Cuba experience - now what I fondly call "My Cuba" was perhaps the most powerful experience in my life and truly transformational—I returned a changed person. For me, it was so much more than a photography workshop in Cuba--while it was hard to rank favorites, the rooftop night with those people touched my soul and heart deeply. I will forever remember our farewell hugs and how we didn't need a language, just cameras to connect with one another so deeply and with such abandon.

Lorne--You did an absolutely amazing job of planning the itinerary, so that each day built on the previous. By the time we got to day 7, and still had 3 to go, I wondered, wow, now what could top this day? And, just the workshop or just the Cuba travel experience would have been superb. But you brought the two together in such a powerfully dynamic way--so much so that it will be difficult to "settle" for a regular photography workshop from here on out.

I really liked the flow of the workshop from beginning to end and also from one day to the next. The sequencing is as important as the content and events of the workshop--not many workshop directors understand that. Your travel experience planning and organizational skills are superb. You have such a spot-on feel for the type of events and experiences that photographers would enjoy (plus the all-important photography details like arranging for front-row Tropicana seating). The sequencing turned what would have been a satisfying experience into a one-of-a-kind, extraordinary workshop and experience. Also the mix of each day and including some photo instruction and critique time was great. And what I liked the most was having a lot of flexibility--we could choose to tag along and take part in the planned activities or do our own thing.

Many, many thanks to you for "My Cuba" and all the best.

Peggy - Indianapolis, IN


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.

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


• 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)


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



• 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


• 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.




I want to thank you for an extraordinary trip!! As you know I have had the good fortune to get see a bit of the world and this trip ranks right up there as one of the best ever. Not only because Cuba is so unique and interesting but because of all of the work you and your team put into making it an amazing and memorable trip. We all got to benefit from the foundation you have build on previous trips and all your Cuban friendships. I was totally impressed at your ability to run the trip, focus on everyone's photography via the one-on-one's and to also be focused on every little detail while at the same time managing surprises. And as I noted, your multi-media presentation was perfect. I have done only a few organized trips and without question this was the best organized trip I have ever been on.

Pete - Federal Way, WA



• 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


• 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




Best photo trip ever!

Bonnie (photographer) – New York, NY


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


• 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.




This was an incredible trip from start to finish. The locations, the people, the photo ops, the learning experiences, the surprises....all combined to make it one of the best, if not "the best" travel experience I've ever had. And I've done a lot of international travel. This trip was easily worth the cost. I could return to Cuba, but I know it would never be as well done as Lorne's trip! I have heartily recommended this trip to my photographer friends, leaving out some surprises just in case!

Nancy - Long Beach CA