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The Art & Business of High-End Retouching

Lesson 3 of 32

Shooting for Retouching: Beauty Continued


The Art & Business of High-End Retouching

Lesson 3 of 32

Shooting for Retouching: Beauty Continued


Lesson Info

Shooting for Retouching: Beauty Continued

We're using have to look at the side of this to tell you we're using a phase one body with the two fifty back. I think that's the new one. Megapixel back. Fifty fifty mega pixel. More a little bit of both the d a hundred feet. A little bit of love within eighty millimeter lens on the front. I would actually like to go a little bit longer, but that's what I have and that's what happens in your kit bag anyway? When you're like that to make it work on on dh this particular models to six, four five d f plus focus on dh amusing and pocket wizard to trigger the ellen chrome digital packs. John, wait. Just show the pack. Yeah, positive on dh pocket. Was it yellow for conspicuous segments? Being conspicuous. This is my ellen chrome packed. So this is the capacitor that powers the flash every time the flash fires, a lot of stuff happens in there, and it recharges, and it goes quite fast, right? Like, uh, no, we have on speed, man. It is on here. We can take it beep when it's ready. So this isn'...

t a crazy, expensive pack. This is, you know, I could like fire like that if I was buying a some other pack like that and that's the main advanced again I'm going to get good color consistency out of this if you're setting up a home studio or wanted to shoot some basic stuff and that's what I use I don't use this crazy equipment it's not that don't you know it was anything basically using cameras you could just as we did on suz class you could do it with speed like yeah long as you get it diffused along the principles are the same exactly understanding principals you're setting matter what use yeah I'll give you that back in and we're losing an extra small camera soft books these are great for beauty just wonderful yeah let's try change the light around I actually like what's coming off the screen here we have enough is enough and I can just also go in and check here if the highlights I may be too light but they're not so that'll work for retouching plus you're history graham will also be able to give you indication right there exactly as you have one of your highlight details there so it's and I expect a little bit of shadow here that's fine let's complete words completely falling off and that's what's reading in there really deepened and that history is so important because what happens when you look at the camera or the screen sometimes just clean out may not be calibrated so it may look blown out when you go into history damn, it may show that you have your details there that's why you see I'm still really important to check and the other thing I can do is there's a lot of spread of light on her here so I'm gonna actually take this light source away a little bit and that's going to give me more contract that's going to give me a more focus light so I'm gonna bring it up and up in a way that's a song, isn't it for everyone's benefit? Trust me, let's try that so we should get a little bit more focused now. I've taken that way a little bit, so I'm gonna ask john already just turn it up a third of a stop to start, we'll try where we are and yes, I could go back to my meter, but I am no, I'm in range, so as long as it kind of looks similar to that, I'll be all right. Can I ask wolf heart and a couple other people are wondering about hot spots and how much min issued those are for you. Is there any suggestions that you have, like how how bad is too bad for you to deal with? I'm so this I'm really glad you I'm glad you asked because what happens with hot spots is they, I guess, are prone to having blown out here? Is that the skin? Now what I recommend is this is why it's important to make sure make a parcel sunset because she can powder the mit model up and reduce that glare so there's less of an issue there. Secondly, what can happen is you can change the lighting to be more diffuse, so you don't have the contrast that bounces off, you know, the angular parts of the head and stuff like that. So in post production, it's sometimes very difficult to get a hot parts if you don't know what you're doing, it can look awful like because hot pots also contrasts the mount of shadow and contrast tears on face. So number one, make sure make apart is there keep checking through the shoot that you know is it is it? Is it gonna be a problem if it is talk to make a parson say, please part of area up? Do some camera tests and lighting test make sure follows a good prior to because you don't want those hot spots showing up later, especially when you have a really good file, but you can't rescue something that you wish you would have done part two and I'll come to that actually it's well, contrary to my own rules, I said seize workshop this light if anyone watched it don't know what I'm talking about I said try to find light sources that don't point the bulb directly at do you mind if we show this real quick I think people want to see this that's a good point yeah this one I think just take it off you take this off me one's better at this than I am on the light coming through and pointing at the person is gonna if you don't defuse it properly is going to give you hot spots we have makeup we have beautiful skin on this model's that's great if I was being photographed don't think it would look like that so are you having trouble trying to lower a bit? Don't worry if it's just uh I gotta go so this camera has one second you can see that light source goes into the back of here like this it's got an inside baffle on an external bathroom that's diffused twice so that's why we kind of get away with it being a little bit soft you khun get modify us where and we may use one later where the light points into the modifier and then bounces around in the back and comes back out and that's going to give you the best the most soft the softest light here we can kind of get away with it because I want kind of a strong contrast to light just what we're achieving now, and I moved the light back, john, I'll give that thank you. So you see, it mounts onto their and that bulb is pushing in that I wanted to show you one other thing about the ball, but I don't know if you can see it. This is called the head if you can see that, where am I? Over here and there's a little tuggle on the side, little tile that moves the bulb in and out, and what that does is a little reflector dish. And when you put it out like this, it's further forward the light spilling out when I move it back. It's more focused because it's behind this reflector and that's going to give you a little bit more of a focus like so that's what we've done put it into the back of this device, and I'm actually gonna move the ball forward in this and get it to spill more into soft box right now, it's pointing forward and just see it should make a subtle difference. Let me help you with this here, huh? So good to have a good assistant on so I can tell you seriously, right, they make a world difference, and they what they do also is they go right? You're doing this all wrong say it nicely on then you go oh yeah I remember that basic training I when you're shooting you're so focused on model sometimes you overlook the little details assistant so valuable I mean everyone on set yes that role and that's what's great if I had something in the retouching for teak wood go look can we just get that shadow filled in yeah it really helps to see what you're doing when you're shooting yeah on the top the top of the range photographers they have re touches on set yes a couple questions first of all an easy one a pretty we're using capture one right now with the rest of the workshop or we're gonna be focused on photo shop what software are we going to be using during the the work related questions so we're demo in capture one to kind of explain what felix typically uses in a process where we're shooting tethered through our workforce its most people use camera raw I believe at the moment from this point forward after we talk about our one on one discussion later on we're going to be using camera raw to kind of process the raw files on dh explain what I do just from the beginning to the end so I'm gonna be using camera off or a lot of processing and then using photoshopped actually the retouching portion of the workshop with the file itself beautiful on dh then we talk a little bit about sharpness there were a lot of questions coming in about how sharp do you need it to be how much can you fix good good best practices for making sure that you have the right sharpness in studio okay but a little bit perfect this is also why it's really critical to shoot heather because when you shooting on the back here camera he sometimes won't be doing double checks to see if it's sharp um here we can see how sharp it is so that we're not missing the mark now if a father's completely out of focus just forget you're going to get it back I know dobie first has released some you know type of recent feature you can kind of rescue the sharpness from images calm blurred but still the reality is you can't rescue image that's out of focus so get the focus right and then you can have leverage to sharpen on top of that but you can't rescue enemies that's gone perfect skip gone how you feeling with the temperature is a little bit called a short because there's one little thing it's more important the model is not called on me because of goose bumps yeah you can uh uh I just I'm going to give you my jacket you sure you can like where around yeah just just your forearms yeah, there we go well you gotta make enough yeah, first the one that made all the sacrifices on set I say that because I'm a photographer but really pays also because when she's comfortable shots look much better always think we go up a little bit here back in position we moved everything around good so now we're gonna have a little bit more of a focus light let's see how that looks and we'll do a bunch of shots while we do that see the beautiful good and let me get like a lot of we see where we are with the shadows on that pretty that's coming in beautifully I think that I can already envisioned that on it's photoshopped looking really nice yeah on balance I think is perfect from the highlights the shadows it looks like a really beautifully balanced image good so I want to I'm going to cheat and find ways to get more of that hair and then yeah, so could you just kind of juice it up? Yeah, just just do this and then we'll just we'll bring it forward a bit like this is good because it gives me leverage leeway to mess it up because it's already a mess to start with that perfect good, beautiful good and I'm going to ask you to just tense everything up I want to get like a really strong hose like yeah beautiful good. And then you get eye contact on the cameras. Catholic good. And just dip your chin towards me a little bit. Good. Good. And can you focus your eyes a little bit? That kind of like, yeah, beautiful. Just relax a little bit. Perfect. Particularly check that they're coming in shop. The main thing is you want to check for motion? Blur is not really a problem. It's shot very. Yeah, yeah. Typically always check the eyes for sharpness because that's where the emotion lies with the photo so that's mine and sharpness. That's fine. Yeah, good. All right. Should we should show what happens if you turn your face this way just to kind of how let's try it without I just want to show it's not. I don't predict this is going to be a beautiful picture, but see, you see how it kind of becomes like ooh, this is lighting for specific angle, right? Let's, try it with philip with phil and I'm using this tripod really well. Good. So that's a little bit better, but I still wouldn't use that. The eyes, everything kind of guys, you don't get to see their hair. This is we've done the makeup, everything to work from the other side, so let's, go back around and I'm going to show one other thing I'm goingto on leash this myself, you know, this happens on every shoot I do, they set it up on a tripod and then I got now let's do this because I want to get this frame right, so find move and killer just give me that. Yeah, but not this much. Just put the difference good and just, you know, the thing is we want to get you to be like to be a little bit authority. Yeah, exactly a little bit of attitude. Perfect. They're so kayla can take this direction because she's an actress as well. So I have lost a lot of that shadow now, because I'm closer to my light source. I'm going to get that hair and as well, perfect and john, you can just drop the reflector for a second. Thank you, good. And kayla, just bring this shoulder up for me. Yes, good. And essentially that even more. I want to get into. Yes, there is beautiful. And I'm getting a flatter image here and I'm still cropping up there good. And if I come around to here this is going to be I'm losing the backdrop but I wanted to show you how it becomes much flatter you see I'm getting the shadow now on the other side stay in exactly the same post yeah perfect and you can look off camera here just by moving myself around I'm getting that contrast back in if you bring your face to me you can show that probably better so now I've got that contrast back in you see the difference between particles you show the difference between that just go back to images there can't go back and there it doesn't it doesn't show too much I'm not moving that far if I was here I'm going to get it I should go there you go huge difference goodwin something actually works out good or not work as predicted so let's I think if we predict what do you think as we're building up kind of something for you to retouch that's the main purpose here sure absolutely I'd really like the fact that you know we have this beautiful lighting coming in this angle it's more balance and obviously this time we want but perhaps something a little bit more in the chateau region get a little bit of light coming maybe bring affecting closer perhaps from below yeah do you think yeah absolutely let's see yeah this is the clamshell lighting that I that I do good kayla good luck let's get a lot of attitude in there like think of something that makes you mad they got like me hold on just a second um you notice how how much it opened up the lighting's we try one off the same set up without with really quick okay john just hold the reflector leader effect out good and kayla don't move and don't bring the reflector you can compare these two so you see how much of a difference is and the fact is you actually won some shadow there yes you really do like you knowing that like please do not make me use everything that the amazing yeah I'm going to kill the contrast by putting another light on the other side just and I can so I think you know from personal basis I think this is fantastic maybe just get more of the face yeah exactly I just I'm thinking well that we need a little bit of detail in the head that's the only reason I have the effect that definitely so what would you do if you want to just a detail in the hair I would ask john higher up well this hedge on on the side here on deny khun kill her o c not touched it before just get a little bit maybe she could even you know like cheated by getting her to do this yeah to put it forward a little bit and exactly jonah's coming now just from behind so the light's gonna come in bounce off this is not really hitting may be the tip of her nose might get a little bit reflect I'm not too worried about that. Yeah, perfect. Good. And then I'm actually gonna do a little bit of a wider framed because I want to get her so kind of what I'm seeing in the frame and how I would get a little bit of that interest going there that I think that makes a difference. You see the hair coming in a little bit lighter now, which is exactly what the intention was. Yeah, so this is kind of a frame exactly, john sliding up the hair, we could do something. Just give me a little bit more that condescending chin perfect that's maria better way, way catch that smart. I can't not catch us pilot shooting perfect. Good. Yeah, and your child is there on like, who is good? And I even get my jacket in on the floor. Interesting question for you is when you're shooting, do you care about cropping the top of the head and things like that? Like, I think when something like this, I think it works, I'll give you the space yeah that's why I just started to move by like you actually look, you just gave me there you were kind of you had your hand down yeah, perfect there it is let's see, am I? This is gonna be tricky because her head is dipped for the light. But this is also something that we can show you guys in retouching if this happens, the client might pick this especially if they don't set they might go I want this one. Yeah it's weird sometimes their tastes are so different than yours, right? Like you have to abide by what they want biggest frustration it's this is so beautiful models like all right let's, go let's try the same with yes, good catching that light good and john's in the frame that doesn't really bother me that much. It is also important that you noted that when the chin is higher you can see much relying nice. Yeah, I think that's much better for postproduction because with postproduction you want to be rescuing shadows in the eyes is to illuminate you want to do it now? Because what happens sometimes in the post if you just blew the meeting just the eyes what happens in the rest of the body and face of very rare because the rest of it's also in shadow do it now what do you think about like a fake catch lights and people like highlighting the eyes I know when I started out yeah certain people would tease touchy subject gave me a lot of trouble however let's get you I think that whenever you do post production first thing is just like with white bones there's no wrong or right to an extent okay there's some things that obviously very wrong like blurring skin never blur skin period a number one never no don't do that please don't what even if you want to save time no never if you want to save time get another profession or hobby because that's really something that it looks horrible and I only had to spend on this image I'm today or in general general how long would you spend on a beauty? Well because you're shooting right I spent a lot less like I could spend half or you know much less than I would if things were wrong that's why I love working felix because he does so much to get things right that he's takes extra time that I would construction does it on set so typically for me now I've gone to a point where I can do it beauty image between an hour and a half or so two tours but when I started it was like six hours because I didn't have the right work for principle I dont have right what is the word work for going through with the consistency but when you have a good mentality of how to process an image and what to spend time on would not to spend time when you become more efficient and that's. My goal today in general is how that efficiency if you work for and you knew exactly when to do what you know, just haphazardly just doing everything and there's you. I know I spoken to you have a lot of tips for that kind of I have so many tips changed. So are we? Not again? Critics like to do this one little thing. Yeah, just like over shoulders. I'm telling you to do one little thing and oh, yeah, okay, I never thought of that, so they'll be great. But going back to my original point, it's felix too, so good at making sure the shadows are gone from the ice because you don't do that in post production. You do at least as possible right now. So now I'm gonna ask you what would you be looking for us? Your final shot? Do you know when you get it? I am moving through this and starting to see where I want to be. We've changed the light around. We've made little changes now, people, I will do this in the light test the day before. And then when I get that it's still change is how you communicate to the client or how if you have the client on set if you don't you can do what you like how you communicate all of these things makes the difference because I will absolutely make changes you know, little phrases like I'm just going to change because I think it could be more beautiful you know and the clients like brilliant yeah but it's okay to try these things and it's okay to fail and I'm you know I'm cropping off just as you said it like I'm dropping off the hair and you know like you need one perfect image yeah so I'm going to it's going really one image of the horse shoots and so one day when I'm really good at this inn in an ultimate universal come in click and leave it's good that you mentioned because a lot of photographers think that you know I should have every shot that's a keeper but the reality is when you're going through a shoot and you see the selective photographer it's usually just you know a few frames that's good it's not a whole thing so don't feel that your failure just because you have one shot that you really love it's such a huge deep issue this years of that and I'm always telling people like you if you think about the old genius is the old legends you only ever see twenty images hot and your country person same with abadan and then you buy a book and you see and you're like not as good as stand up images if imagine if you could be considered a genius with just twenty images the amazing right and then there's this pressure of course you have to deliver the client, but if you take the pressure off yourself I think it makes it much easier to go through it, right? Okay, phil and I have I'm going to go back to landscape and I'm gonna ask you to see if you turn your body around this way try something and really yeah, exactly and I wantto get this yeah and maybe bring your torso towards me sorry. So twist yourself around to me a little bit more good and I want to see how I can get like an image like maybe you know, in this frame like this way around let's see let's see what we can work into. Don't lean towards me a little bit with yeah, good see what we're catching I don't know if this is working yeah can you let's try if you twist your head up towards the light yeah, beautiful and then I'm just going to make you see what we can do with hair yeah, if you get in from below like a woman that's making you laugh let's see, could I get an apple box to stand on just gonna try that get up a little bit higher because I want to get more of the face in there I think you see what I'm what I have in mind here like so that more frame thank you so much right on apologised everyone in england for my terrible, terrible imitation accent let's see, just let let let that handlers and bring me the shoulder yeah, good I'm getting here that's much better change the whole dynamic yeah, you get in okay and just make it your own that beautiful that when you came down you have a beautiful there this great and just close your eyes and like you're in a dream good yeah, I just think the body position is the issue here. Let's see, what if you did this, try it on with the sum does that feel kind of there? I think they're getting better. See what? Bring your shoulder back a little bit. Yeah, I think I'm going to abandon this concept just because of the neckline as well. Let's just do the same twisted body back around the other side so you see, I tried it, I don't think it worked very well just go to the next thing good let's um let's catch the light again with this way and I think we're just going to nail this shot where were we now have short term memory loss I'm just going to go back to see what the last poses that worked when we did the think that's actually quite nice we can work through but what do you think like of a straight up that's what this is yeah well the framing the bounce out here and show this to the model we just go back to that yeah okay good so yeah it's a little bit of a dreamy yeah not as much you don't anyone yeah they're beautiful and then we had your arm in the frame good yes and she's moving it around and you can change your expression give me from emotion yeah beautiful and maybe a little bit more seductive good on just let's try various chin position so you can move around there and I'll just keep shooting I don't think that was can you just check focus for me between the framing is coming in fantastic yeah and it's sharp too wow and that like that's the creative light a creative life effective yeah when I was on with sue everything just worked that surprised never done ok and then let's bring that I'm back a little bit it's a beautiful frame yeah that's gonna be great it is beautiful killer good and just give me a little bit off camera off camera eyes yeah beautiful good just to close my good and then just give me the eyes right there good that's that's a good character shot good what do you think do we have something here that we can work with I'll just do a couple closer someone a white frame see and I went up on this apple box and I think that actually changed my dynamic made it made it better because also light's winning more closer here makes it not more natural for a swell to bring a head up good so I'm going to just do the face good and I want to get the head detail and then let's try a different hand positions let's make it kind of maybe just a soft hand yeah maybe on the side more yeah beautiful there it is good how's that hand look there how about we just it's a bit hard if you turn your torso towards me a little bit good and maybe the other hand let's try the other hand they're just a beautiful yeah let's try that we just want variety here in these sorts also another interesting point is whenever you have the model like this and you have your hands incorporated as a makeup artist is a really good idea to also put foundation on the hands that mass the face because it's such a hard thing to do in postproduction you're trying to match all this color because with me and for what you're getting so much more color detail so it's critical to think about that few thine hand shooter and he'll shoot yeah definitely I mean she didn't I should've asked for manic frenchman airfield but we didn't do what you never know because you don't you never think that you're in corporate hand sometimes so it happens but you know if you know you're going to do a jewelry campaign citing the nails yeah sometimes they do makeup on the hands and the body you know had anybody good and I have a time like this again to catch that's what this has gone on second let's see there we are good and I'm going to just come and really close and just let's bury that chin a bit and I'm going to just get various frame good and with your head yes beautiful that's that might work frame to frame okay I see ok we're going to come up we've got to get that catch that light come over yes there beautiful and just bring this shoulder into maybe yeah good that's great looks the way it looks here is that better yeah so we have a look and see if you wanna have a look and see give me feedback on kind of what look you might think works I realize what happens if the plan goes so I'll pretend to be the client and I will grill you on everything not that one go back the other hand is a little bit awkward, isn't it? Yeah. This family could use one of those yeah, I really love this train me because you could tell it all our expression sometimes you know you can tell how comfortable she feels with you and you working it shows in the photos and there you have some skin to retouch on the arms and yuk unnatural of that so thank the sake of this workshop I'll reach us this one this has that's going to be beautiful I mean it's rolls so you can get a little we'll see what we can do thanks that's a good go back to that frame the black one way so because this is the flash didn't hire and I know I have no ambient light spilling into my frame it'll mean because it's completely black failed feeling it is studio lights aren't affecting what we're doing is told that all of my mistakes that teaching moment back tio go back to that this one here I love it. Yeah. Okay. Do you think we have something that we can use so that's another question for you is when you're going through selects you just say I love it automatically set by instinct or is just well this poses like perfectly, you know, geometric figure like how do you how do you look at the angles I like someone was like, oh, I leave a bit see the photographer that poses everyone and squares in irons and triangles. Like what? I guess so, yeah, I don't think that's how she would describe herself the yes, it is that instantaneous reaction if you go through and you go out and you know it from the client and you know it for yourself on people, when they put it on their facebook or when they put it on the website or it's in a magazine that's, the same reaction everyone will have and the mistake of legs go right well over, I don't think that shadow and like none of that matters, how many times do you go on your facebook feeding a whole bunch of images, right? And you just scrolling through and you stop because that instant reaction if your instant reactions beautiful or it's good when you see the image here, chancellor, if you're going to love it, sometimes the you know, the technical details don't matter honestly speaking, because when you look at magazines, sometimes images, they're like, blown out or there's kind blurry and what are they thinking? But sometimes it's all about that initial reaction in motion photography is about the emotion, so when you have that emotion, you know you have a good shot that's why they hire top models as well I know when I was young and kate moss was plastered all over england you just made you look every time you know you just get that instant the same thing so warm fuzzy feeling like you said that one feeling so I was up here I like that one I think you can retouch it on the client will like it too and one of the little tricks that uses we always want to carry on shooting but I think we have something with the client I have a certain amount of looks I have to do and I can say right think we have something let's move on to the next look and it's more about the time than we've achieved genius you know and have you ever been on a chute you just shoot five frames a classic I love it when it's usually towards the end of the shoot when you know your flow you know everything's going actually that reminds me we have five minutes do we have a little softer card for air like or something? Yeah like a small pieces we had at last time there's no piece of foam court if we have it maybe to add some interest we could do a little bit of wind and and psychologically I've noticed sometimes models love it when you put the ring in there yeah, yeah I can't sing but the song you know, e I remember I had a fashion shoot in copenhagen and I had like, wind on the girl and she's standing like this yeah on dh doesn't it? It wasn't a cheesy is making way put the music on so loud and she was like in this moment and it's just like you know, when you just feel that rush and everything just explodes and you'd be good in broadway they could see you I live in new york but not quite all right thank you so much particular you do the honors come from this yeah you're gonna be a big fan here oh, good term let's do this pose here I'm going to leave this for the model to see on we try that. Yeah, your shoulder was towards me so yeah, and make your legs follow and all of these beautiful, perfect good and john you're in the frame a little bit good and pretty with a bit more bigger please more enthusiasm that beautiful good and just tilt your chin forward a little bit good see how that comes out beautiful. You see, we have worked into this shot and now everything's just working so much but I'm really happy here good and I'm just going to get this frame right come back a little bit I could have just put on a low stool but that would be too easy right on I'm going to get critiquing somebody strange because he's so close a little bit more bigger if you can do in your worker because also this is great for if you want to show the hearing so let's there I'm going to try catch it when the particular it more timing issue okay this is not going to happen but it's going sometimes hair reveals the hearing okay please make this worth you gotta you gotta walk really hard really hard if you concede and that getting captured uh okay come around to me a little bit I'm, um I'm on this path now I'm just okay you know you're just gonna shoot it they're just doing it for such a split second did we get any with the hearing any way you can use the wind to reveal the lettering works though you can tell yeah exactly and if you have like, a big diamond or something it'll it'll catch the light you know and for this we're just gonna cheat and killers can't just do that and yeah beautiful good and I have it come on is this some kind of joke all right one more time there we got it the hearing well yes and critique will bring it out thanks. Yeah, good, beautiful I think that that thing for the hearing oh, it has one on the other side of that beautiful smile. So lovely lady that's. Great. Okay, we're going to do the same thing just a little bit. Chin up good and just bring your faith around a tiny bit good. And I have a hearing with all the hair that particular that good just so you could see kind of what the open lola. But I think that other shot where we on the other side with the wind and the figures, right, it adds that psychological difference just like me standing on an apple box makes me feel so much great and tall it's extra here. You fixed her hair on which side on that? No, it's fine. I don't think we'll use this shot, but we'll never know. We'll never know. We'll never know touch her, so it was very touching. They're beautiful and I'm gonna yeah, I just bring you that way. Are good. Yeah calling has not done for the side, but now

Class Description

One of the biggest challenges a photographer faces is the amount of time spent on retouching images. Creating a beautiful high-end finished photo requires the right tools and techniques — but the process doesn’t need to dominate your workflow.

Join international retoucher Pratik Naik, owner of Solstice Retouch, as he shares his secrets for creating beautiful photos in less time. You will also learn the business and marketing side of retouching — everything from working with clients to creative branding opportunities.

During a live photo shoot, Pratik works with photographer Felix Kunze, demonstrating how photographers and retouchers can work together to craft a final product that exceeds the expectations of both parties. You’ll learn every single step of the retouching process by watching as Pratik turns Felix’s raw photos into high-quality images.

Whether you’re a photographer who wants to present high-end final images to your clients, or you want to break into the world of retouching, Pratik will provide you with the skills necessary to be the best at your craft.

Software Used: Adobe Photoshop CC 14.2, Adobe Lightroom 5



Really wonderful course, thanks. May I suggest a fantastic idea for maybe those who purchase the course? It would be extremely useful to be provided with a summary of the content of each video segment, perhaps a 30-60 second video with written 'dot-point' sheet at the end of each segment, to be reviewed at a later time. It just takes too long to replay each video to get the important messages. The notes provided by Pratik were a step in the right direction but they need more detail of what was presented, including tips and tricks, in each segment. In this way, once having watched the entire course, you could go back and review the nitty-gritty aspects of each segment quickly and efficiently. These quick 'summary' clips could make up a separate 15 minute video, recapping in detail the hard-core content of the course, without interruptions from questions. This would be extremely useful and hopefully not take the presenter too long to film. I feel this would be a wonderful 'added value' aspect of buying the course, as it would not be available for for free viewing. It would certainly encourage me to buy more of the available courses. Keep up the great work at Creative Live! I have stopped my Kelby subscription and just watch you guys now!! Well done!! Peter Bourne Australia


Pratik has been a revelation and a revolution at the same time, even kinda a benediction because of its huge generosity to show us such an efficient and powerful workflow. His genial approach turns impossible things into possible. What amazed me most, was Pratik ability to see further the shot and take the best of it to reach the perfection. The original photo is still there, very recognizable, but through a precise and meaningful workflow, it becomes eye-catching, high quality, high impact. Pratik is a wonderful person, very genuine, high talented, with a sophisticated sense of the aesthetics and arts. This course changed drastically my way to look at photoshop and at the retouching techniques. Thank you!!

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I have been a retoucher since 1992 and a commercial photographer and I am amazed at the wealth of information Pratik is teaching us. Love his great sense of humor. Yes, retouching takes me way into the early part of the morning...up to 4 am. I've learned to listen to Books on DVD from the library which help my attitude much better. Several degrees behind me and I know I was meant to make a difference with portrait photography. NO ONE wants reality, especially at elder ages. So I continue to learn to retouch professionally and not use a quick retouch filter which renders a fake look. I may incorporate a light retouching filter, but I find I must always do some manual retouching first, in order to have the appearance look real. Which is the old first rule to retouching itself. In the film days, I use to make my own texture screens in order to create more beautiful faces. My photographer friends would ask for my help in using them, when they had blurred an important celebrity shot. The texture screen would help spread the dots and give the appearance of your digital noise now. The results were the image looked more focused Thank you Pratik Naik, for being so generous with your techniques. I am interested in how to price out retouching jobs, as I have been told I give my retouching away with my photography. Thanks,, Jeri Goodwin-Akari cherished moments photography in walla walla, WA