Creative Composition and Critique

♥♥♥♥♥  Heather – Really enjoyed the day, Tony is a great tutor. Came away with lots to think about!

♥♥♥♥♥  Sue – Loved the Composition & Critique workshop at Lacock Photography at the weekend. The tutor, Tony Worobiec, enthusiastically shared a wealth of knowledge, encouraging and inspiring us to look at our photography in different ways.  A great group of people who shared some amazing photos and not forgetting the delicious lunch just added to an enjoyable day. Thank you everyone.

♥♥♥♥♥  Richard – Exceptional presenter, enjoyed looking at the other attendees’ work and having constructive debates. Will come back to any of Tony’s future courses!

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Creative Composition & Critique
4.7 based on 7 reviews
£135.00

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Book now for Sunday 11th November 2018

1 place left!

ONE DAY COURSE            10:00AM – 4:00PM

Whether you are into landscape or lifestyle, abstract or architecture, street or studio, wedding or wildlife – great composition is the key to a successful image. Understanding how to compose a photograph to maximum effect is a fundamental step in a photographer’s journey towards developing a distinctive style.

We are delighted to offer this 1 day creative composition and critique workshop, suitable for all photographers wishing to get a more complete understanding of the ‘art of composition’.

With a maximum of 6 students on the course, the venue provides the perfect environment to better understand what makes a great photograph – and most importantly, what will make your photographs stand out from the crowd. Students will be invited to bring a selection of their own photographs for compositional critique, to help discover or evolve their own personal style.

There is a common belief that there are a set of prescribed “rules” relating to photography, which unfortunately can prove a hindrance to the development of emerging photographers; we believe that no art-form should be constrained in this way! This creative composition and critique course aims to do is to introduce students to a set of design “principles”, which the user can elect to use or not, depending on the statement he or she is aiming to make. These principles not only relate to photography, but are commonly used by artists, graphic designers, film-makers and even architects.

The creative composition and critique course examines the conventional views of composition, which many already understand but encourage students to develop a confident approach to composition. The course also addresses how to elevate your composition in the post processing stage.

The creative composition and critique course is delivered by Tony Worobiec, author of 16 books Tony studied fine art at The University of Newcastle upon Tyne and spent 18 years as head of a large design faculty. With a maximum of 6 students per course, the course is a fantastic opportunity to learn creative composition and critique skills from one of the best in the business!

Part 1:  CREATIVE COMPOSITION
  1.  TAKING A CONVENTIONAL VIEW OF COMPOSITION.

The aim is to build on what many photographers already understand, but to place these issues within a context.

  • Understanding “The Golden Section” and how it relates to the “rule of thirds”.
  • Organising interacting shapes and forms to improve composition.
  • Using Line to structure composition
  • Understanding how linking the foreground and background adds clarity.
  • Playing the numbers game.
  • Explore how colour affects our psychology.
  • Illustrate how important it is to direct the viewers eye.
  • Working with rhythms and pattern.
  1. ACHIEVING STYLE THROUGH COMPOSITION.

Encourage students to develop a personal and confident approach to composition.

Explore methods for improving the structure of the image.

  • Understand how often “less is more”.
  • Examine those techniques, which are unique to photography that aid composition.
  • Consider the “design” in photography.
  1. COMPOSING POST CAMERA.

Understand that the process of composition occurs throughout the process.

  • Examine simple post camera techniques.
  • Encourage students to adopt a uniquely creative approach to their photography.
  1. TAKING A FRESH LOOK AT COMPOSITION.
  • Examine alternative approaches to composition.
  • Understand that when dealing with issues relating to pathos, compose for disharmony.
  1. CONCLUSION

Consider how culture (camera clubs, photographic magazines, etc) promote a particular view of composition.

  • Examine other aspects of the visual arts to see how they compose.
  • Consider the implications of “The Gestalt Theory”.
  • The value of composing “intuitively.
Part 2:  DEVELOPING CRITIQUING SKILLS

The capacity to critique, and ultimately to self -critique is a fundamental skill in the development of compositional awareness. All students are invited to bring a selection of 4-6 of their own photographs, (either on a memory stick or as prints) which we can use for POSITIVE critique, relative to what has been learned during the course. The expectation is that once a student can confidently appraise the work of others, they are in a far better position to self-appraise.

During the second part of the course the group will;

  1. Evaluate images in the context of the main visual elements, namely line, tone, colour, shape, form, texture and scale.
  2. Consider the purpose of the composition and whether it has been consciously or subliminally composed.
  3. Understand how to evaluate others work in a positive manner, to provide guidance, support and encouragement.

Creative Composition and Critique

Author of 16 books, Tony Worobiec studied fine art at The University of Newcastle upon Tyne and spent 18 years as head of a large design faculty in Dorset. He has won awards for photography in the UK and internationally, and has had work exhibited in London’s Barbican Gallery, Bradford’s National Museum of Photography, The Menier Gallery London and The Fox Talbot Museum Lacock. He is a founder member and until recently chairman of the prestigious Arena Group of Photographers. Dozens of his photographs have been used for book or album covers.

His work has appeared in many photographic magazines both here in the UK and in America. More recently he has developed an expertise in digital imaging, exploring both monochrome and colour techniques and has been invited to write extended articles for specialist digital photographic magazines such as Black & White Photography, Practical Photography, Total Digital Photography, Digital Photo Digital Camera and Photo Techniques USA.

A passionate traveler, Tony (together with his wife Eva,) has made frequent visits to the USA, documenting the depopulating areas of western Nebraska, North and South Dakota and south-eastern Montana. The culmination of this work has been the much celebrated book “Ghosts in the Wilderness; Abandoned America” (published by AAPPL). This was favourably reviewed in numerous national newspapers including The Independent, The Guardian and The Washington Post. Very recently, a new book “Fragments of The American Dream” has been published, which reinvestigates the same area to see if many changes have occurred.

Another personal project involved scouring the old American highways in search of the dwindling glamour of many of the independent diners, motels, hotels, and theaters that continue to survive. This work is an attempt to celebrate these iconic beacons which epitomize the American dream and to ensure that they do not become a fading memory. This project was also published by AAPPL and is titled “Icons of the Highway”. Work from this project also appears on both The BBC and The Guardian websites.

A Fellow of the Royal Photographic Society, Tony is a fine art photographer with work in the permanent collection of The RPS, The Fox Talbot Museum and in numerous private collections here in the UK, in Europe, Japan and in The States.

Find out more about Tony on his website!