The Art & Business of High-End Retouching

Lesson 5 of 32

Shooting for Retouching: Fashion Continued

 

The Art & Business of High-End Retouching

Lesson 5 of 32

Shooting for Retouching: Fashion Continued

 

Lesson Info

Shooting for Retouching: Fashion Continued

Okay kayla I am going to ask you be annoying be annoying and ask you just we're going to move you over love it so let's just move the children leave this one here and I'll just move this one you're very acrobatic there we go perfect yes oh then I don't have to move my camera I could just get her in the frame good on dh kayla can I just have you stand up for me that I always do this stand up and just pull the dress into the right places it has a bodice on it can you turn around and I'll do just hopefully doesn't hold on to it just the stylist will usually do this he's not too hard on dh good yes so we have a crease there that's just from what happens when you sit so we're gonna work around that and this is one of those things that you think he's going for the shop later yeah thank you for making me aware but because we'll minimize as much as we can you know this is the kind of thing my system will come to me and go like can you hear that yeah you have a crease in your blood and then I'l...

l get the stylist or someone to fix it so I really do rely on everyone else you know I'm a bit sick we were expected to be this godlike creatures that just get everything and I'm not an I have clients, so all right have a seat again doing brilliantly on the post and feel free to use the edge of the off this just to come off as well we have a half apple box somewhere that I would perfect john's prepared john is amazing yeah way on there and that's you know, if you cross your legs up for me you resting on that you can come as forward as you want I want to get length on this is really a neighbour should I knew the little box in the woods so she can sit properly so this is how I work through poses as well I just kind of see what works make sure she's comfortable and then I'll make a pose in a way that's not comfortable good kayla if you roll onto this hip a little bit and we're just going to get that shape good and cross the legs above the knee you can't get good and I'm just trying to see how we can get shape in this that's actually good. Yeah let me just do that again come up a little bit good. Yeah and now the falls it's kind of natural I might ask you just to pull it down so this fold is further down and if that doesn't work it's okay this is how the dresses send it back to the tailor you see but that's kind of natural so we'll work around that the main thing I'm thinking about is if you pull that tough over yeah and yeah so try to keep see try to keep your torso further up yeah, we'll just work into it we'll see how it comes out because thes things tend to come out in the wash pardon the pun just give me I actually if you keep your hand across your yeah and just make it that could be more beautiful there is maybe more yeah lovely and I've lost my focus again on such a beautiful sound doesn't it and whatever's coming off the screen good and I'm liking where we are I'm liking the color and I think in this case it's a little bit distracting her the top the foot that's on the top but that doesn't matter I'm gonna work into this and we'll figure something out we'll work through different poses I'm not going to take this as the thing that's now going to make me be finicky I want to get shooting I want to get home to you know when I take a break and I talk to you she'll move she'll do something and I go yeah let's do that you know? I'm already thinking now I wantto e I want to set you up a little bit see where we can go with that yes beautiful that you see that she's done that I really think that's a very graceful pose beautiful and she's working her way into this and that's what a good model s that hand could be more beautiful yes thank you great people in the chat room I like use that hand could be beautiful ballet hands can can always even that's beautiful killer and let's get a little bit of ah feeling in there maybe a friendly expression just give me a little bit of shape on your face so if you bring yes beautiful there it is and she's just connecting with the counter how am I doing on my frame and I popping a double the head off no close but it's not a little bit okay but nobody no nobody as for your critiques please make jokes yeah that was my request so send letters good and let's killer let's bury the hand position let's see where we end up with that yes that's great actually yeah on the other hand as well you can just yes that's great good and you see she's I think she's taking inspiration from the set of well what do you think like in terms of how we built the set what it kind of brings you know when we shot gatsby with lowers workshop the model came in and was just immediately in the gatsby mode good so do you play music on set sometimes always always I bought a little boom box and I just stuck it I did four location shoots this weekend and just stuck it on every shoot people like I don't even like fine like no it always adds an element to it we can't do that here because we're recording but then I won't sing I promise you can see the night asshole you should be on broadway so maybe maybe we'll go for karaoke after this critique in that you khun you can realize why I have a few drinks yeah good now I'm cutting off but what do you think about the detail in the eyes I liked it a little bit toppy now it's coming from the top but that's okay I could ask kayla just get the chin perfect good beautiful I really like that way try it little I would be careful of your crop can sorry I'm keep moving back here good okay I'm going to get some of the set in in a minute on particular see the bottom right? Yes, I am off the slap you're right. What do you think about that in post what are we gonna be able to do with that? You would rather you shift the focus that way a little bit okay, so I should come round and do that because that at least there will be more balance. Maybe we could extend that later a little bit what do you think should I should plates for you yes um if you know once you're done on the mall gets off you can shoot one anti plate of just a background in case you want to sample more areas that weaken added later okay, good all right, yeah. So basically plates when we do a lot of commercial shoots plates are, uh files where the model is not on set because so you working studio and you know the force and get really dirty sometimes you could shoot a really clean floor and then abit later and or just you know, backdrops like this where you can have much more sample material so in case you need to, you know, cover of elements that would be hard to do right now you can incorporate that back good kayla I'm going to ask let's do a more sitting pose so I like to go in she luckily posed herself. I used to buy assistance from taking pictures of me when I do this because they when I do lady like poses I thought maybe we could just do something like this and see where we end up a bit more sitting that make sense and I'm thinking about my frame yeah, give me yeah, exactly one a bit more shape you've started to do it just give me that look like beautiful good and bring that arm back yeah beautiful and just make those hands really nice way wanted maybe even connect me a beautiful here yeah just to the side yeah and the same beautiful we'll just try or put one on and lean on the back that apple box on the back so I'm working beautifully done out there ok and I'm going to now change my orientation here it means like coming over on dh critique has less to retouch that way r and I'm getting in a little bit of that floor like the underneath the set but that's beautiful kayla just cheated around towards the light with your face please so we catch the light you're beautiful um english roads like what's it called english rose you know like the porcelain skin anyone from the I think of it you're really good and actually I'm on the tripod but I haven't quite loose just so I can move around I like doing that but it means that does this when I let go good all right and kayla can I ask you just to bring your hair around to the other side sorry all that hair yeah good, beautiful and bring your shoulder to me your holt also to me good and maybe you just look off camera for me yeah, maybe towards these lovely students there and just a short back a little bit just a shorter so yet that you're more yeah perfect lots of marrying here focus coming back there uh you're up good good that's satisfying shutter release beautiful and I'm going now I'm you see I'm starting to go into this shot a couple of frames and john could you just figure this out for me uh just just so it yeah thank you I've seen already that I don't like the way the shape of this is so I'm gonna pull that back in and see I also still felt shootings fashion I still have to think about how my going to get this bulb like effect in the dress but just standing her up I think it's kind of a cheap way of doing it so I want it oh I want to see if we can play with it this is a detail that you know when women looking at campaigns this bacon tell like that there's fabric there they can see it you know? But if you had it all if I did it if I left it like this you wouldn't be able to see that there's some play here and I also don't want to necessarily feel this she underneath so I just got to think with that and see and work into it it's alright trumps just screws I'll just mess it up again anyway so this one controls the up and down now thank you thank you good all right so now let's see if we have that falls ah, perfect. Thank you, john. Let's get good kayla's right into it. Good. And just come up on your shoulders a bit stronger. So we want to have this, you know, we're working through different poses. Quite graceful it's, quite graceful, she's being in spite of that let's put the apple box. John, would you put that apple box on the other side of her and see what we can do? What we can do with the post for that? Do you come up with, like, mood boards and stuff before you shooters? Just like on the fly with poses with the poses I portraiture guy more than a fashion going, I started playing around in fashion and was even lost affection lighting. I'm usually waiting for that moment when they do something like she did earlier. Yeah, that's how I work into my process that's why I loved you so much, right she's like this that I think. But I have learned without really knowing where it came from that I'm like, okay, this shoulder up, right, that change this change, that and that's just come kind of inside of experience and it was hard when I thought weapon models first because I was directing them so much but they were doing a lot of their own things so it's just a point of experience so you see what we've done here we've varied suppose we're giving her more shape and kayla just them he stand up for me and just go back into that same pose and see where we end up with that and that usually refreshes that makes it their own beautiful there we go that's great and just get point your toes for me beautiful good on dh give me a little bit of shape on the face good so you see I'm getting that same porcelain skin on all of these shots let's make it kay let's get a little smile in their sticky little expression beautiful I have to tell you a terrible joke nothing that I can say I'm created like you'll do good you'll find great good let's tio maybe I could get something tall and I'll show you what happens when we lift her up can you sit on that top apple box quick question for you while you're going there felix kale photo a far couple other people were wondering when you are shooting shooting plates from different angles to be ableto have stuff to work with in the future do you and protect do you want it from different angles just in case you're moving do you just shoot it once at the beginning and then you're good what do you do when you need that reference? I'll answer this and then you can show applies if I'm right and he's wrong thinks I shoot the place at the end usually and often I forget so and then my if I have a big job and I hire assistants than I get them to do that and absolutely sometimes I get plates because not necessary that you need them particularly but they'll have plates like let's see felix want to extend the shot he may later take the same boards or another set of boards and put them there then shoot that later to kiss we don't have enough materials that's so we'll just move the camera shoot them in various locations we could extend the frame make it a panorama maybe like a s'more cinematic crop or something like that or therefore you know cleaning up purposes but most of times I won't actually get place just a few times so some mandatory it's good practice though all right? So I've lifted kayla up during such a beautiful set of poses let me I'll do some ofyou barefoot but I for me in terms of a set I don't mind the extra apple box that she's not using because it adds some interest if it was the right color it would be a perfect proper piece on kayla I want a love that can you but you see what's happened now is that catch right in the eyes just isn't as interesting because she's higher up in the lights actually kind of pointing further down her dress. Isn't that properly either? So I would then end up raising all of this up. I'm not going to do that because I want to move to the next shoot at some point well, but I am noticed she's blocking a lot of the light that's pulling onto the dress with that arm so killer just bring that arm back, make that hundred beautiful. Yeah, yeah, that's nice good on doing just that and show you for the sake of lighting and just cross your legs at the ankle, please. Beautiful that on just twist your legs around away from me a little bit good that's great and nice dance, silly feet. You're doing great e try not to cut them off and we've lost a little bit of the shape, but I just wanted to show you what happens when we're after it's. Not quite right good. So I want to do a couple of wide shots on dh actually critique, I'll defer to you. Sure, what do you think so far? I think the composition is great loved how you were able to more the image in the sense where you got a sense of what's, right? And what's wrong what you fixed I think some wider shots would be great now to see what dynamic we can get with that as well and I'm actually going to switch to my dear hundred oh good will finish kind of flawless um john if you would just take this off here do you want to have my tea is waiting on the tripod way so in case I'm skating yeah god don't say that all right let's see I'm just gonna unplug the firewire on dh it should just work you guys get to see behind the scenes what happens when you tether another camera on dh it will recognize it if I turn it on oh yeah pocket was the thinking on camera there it is it's showing up eight hundred s o one hundred apertura eleven and I'm going to be a two hundredth of a second on my shutter speed but it doesn't matter because I'm not catching any of the ambient light thank you john okay let's test it pop so there could be slight differences between different lenses and different cameras in terms of how sensitive they are to the light. So I'm going to do a live test and it might turn out different but it's going to take those same adjustments and apply them the pixel depth of the day eight hundred because the senses no plot is obviously not its big I'm going back to this because this is what I shoot with and I have my twenty four seventy and I can move around and make this really quick cap you you intimate feel humbled when your villains cast a humbling moment can you just get the hair out of your face there and we'll just test that this beautiful on I'm too far there let's have a look it should be coming in oh on my wife balances very different so critique electro I need you to help me out with what? Okay here hope that piece I'll just fix that that's the only thing we want to do a reference for this camera yeah let's do that as well just going to go in and change my white pounds to flash there you go that's better much better good and I'm just gonna and I notice already I'm a little under exposed here and I could tell that if I go to my there we go there and I'm able broke your camera felix that's all right, so what we're gonna do here a little trick that internet you do this and it might break the table at some point but for now it'll work good and I'm just gonna be lazy I'm going to open up my aperture too let's go to fate and see where we're at with that john just have had out for a second I'm going to do beautiful shot first not that you don't have lovely hand and that's a little bit too bright so I'm going to split the difference and go to f nine or even ten I'm changing by one third of a stop at a time I think that's going to be a good basis to work off it renders a little bit differently and that is the difference between the cameras if you really stickler get the face one but this is deliberately dropped as well, okay? And we're going to bring that color reference in their beautiful good and john, I'm actually gonna have you hold it further down because no further like where she was going to go back down to that crop beautiful okay, good before I change and shoot the last images, does anyone in the audience has any questions or anyone? I'll just carry on nowhere particular, you hold this for sure and I'm going to post so I want to try it the other way around with this kind of cascading formation if you come up to me lovely on I want to see what happens if we just bit of a risk I'm taking here passion is about risks if you kind of get this I just the only thing is I have to get the dress contained within this frame so I want to try this otherwise we'll change it around and just kind of really get some length on it yeah okay and we're going the other way around now so I'm going to see how that works on the face thank you particular and I'm gonna cut off her legs have one at home will complain beautiful that's great how's that she's getting positioned all right um see yeah this might not work actually and that's fine what we can do yeah exactly putting on this like like like like that there you go that's great I need out this is one concept and I think I'm going to be almost at the point of exhausting it yeah yeah they were a good point too yeah exactly so just of saying like there's only so many ways going cat is that the same yeah good so let's get a little bit of like engage your core so we get a little bit of scoot your bum back towards the back and bring maybe bring your legs folded in kind of like so yeah you and back onto back onto the top yeah lovely and just point them out towards the back yeah good is that feel weird it should if it feels really looks good times rules opposing did so I'm going to get more of the ball of the dress here see what I'm trenches to singles take kayla beautiful that's great and just sit forward for me so you're not supporting yourself on your arms and see yes beautiful that's great and if I come from here I might get it would you critique you see the dresses just dripping off the bottom right hand we have that white balance isn't quite right but remember I can fix this in post right famous last words yeah I just want to see how we can get the dress kayla could you pull the bottom off the dress over a little bit yeah, maybe from below good you wanna hide it in the frame you're dripping down that's good that little show on dh come here, let me see I'm gonna flatten this there and I'm just moving around and looking with my because although experimenting you know you know and just extend that hand for me the one yet beautiful maybe put it here and then just make it yeah beautiful good kayla lovely who shooting too fast good. Okay, I think we'll move onto the next look yeah, but I have I have a bunch of good stuff here so it's not male not already lovely good. So we're going to do a little set change wait pretty. What do you think so far? I think you got a lot of great looks with this good and I even have pictures where the eyes are too dark so that he can retouch them thanks perfect which happens a lot we're going to do a similar set up we're going to move the sofa in so this is tricky bear with us, russ, should we take a two minute technical break while we do this? Because I don't think it's let's do alive that's what you want to live yeah, I'd love to hear you guys talking about maybe some of the differences between shooting males and females for retouching so that you're concerned about because we're switching up to a male model here absolutely so typical of females in general they like to have a lot of softer features even when you light them so we tend to do with postproduction is we do go a little bit further with female models just so that we can light and some of the you know, increases or fine lines and things like that with male models you're actually really more texture in the skin rather than take it away, for example and so with them we typically either will light harder or the postproduction side will be much more rugged in a sense, so it essentially matches the appeal the model and what's on the set that day just emotion you're going for and I liked it males with more fun trust exactly show you how we do that because I think you know the shadows really emphasize the features more with the ladies you don't want to add a lot of shadows to emphasize jaw lines and things like that because it probably wouldn't look way were talking earlier that usually the re toucher isn't quite this engaged I mean it's wonderful when here she is but usually this is the and so how do you then capture the the nuances of the conversation that happened on set like happening now that's angry bush after the fact we're trying to glean all the tips out of this from the process rather than you know not everyone can have to return particularly give me feedback life but these are all the tips that we can get you to you know, to understand this is a verbalization of everything that goes on in my head when I'm shooting for the re toucher that's kind of a thing and then what? What happens afterwards like saif al isn't on set that day. What felix will then do is actually communicate a seven notes that the our director the client has said that day especially the points of interests like the art director will specifically have their own right oppa's well and they'll communicate that the felix we should then you bring her to me and so the art director says, hey, you know, I really don't like those creases on the dress they have to go, so it depends so the nuances may not be so important but the primary details will be addressed in communication it should never be assumed always get it cleared out like if it's important decision if I don't if I should lose increases or not, I'll ask felix, should we just leave it alone and take it out? And then he'll tell me either way a question from fashion tv talking about kind of the basics of the we've seen a couple different cameras in use here, the phase one we've got your icon that you're using what's kind of the bare minimum these days a cz faras a quality level for you to be able to retouch something effectively at a high end level when I first you know, started teaching everything I was working and I still do it f stoppers where they would be they have this experiment with a show of the iphone and they say can we make an iphone shot look as good as a commercial shoot? And we realized that it wasn't necessarily about the mega pixels it was about the quality of the photo that emotion that was there so you can really literally work with anything as long as you have the basic principles down the rest is all whatever like you may even see great instagram photos they're taking the cell phone you could even work with yourself so it's not necessary that you have ever fantastic camera it's about your vision that should come apart of here and go this is like a little pets love of mine right now I don't know if you can tell him relax that's exactly what I started with a song you point and shoot people might run out of battery on this camera but kayla could I have you in for just a second? I'm gonna have just one shot here and I know this camera tends to have what less light come in so I don't sit at eleven I said as mine I don't know why it's just something alan I just want you sitting down and we'll just just strike a lovely pose as you know beautiful there it is and I'm putting out my face like they're going I'm just going to zoom in on her and this thing's telling me like the battery's dying so that was beautiful so I will show you guys later what that looks like okay but I shoot this has I don't know how many like like the number head but it's great and I use this for light tests it's brilliant it's just like simple legs looked like so is still about the principles of your lighting that matter not even about the camera exactly it's a sony are x one hundred two in version three they got rid of the hot shoe so he's kind of touch of pocket wizard so let's sell out the sony are one hundred two that'll be done today good I'm going to take this back off next

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

Reviews

peter
 

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

Valentina
 

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!!

user d3cdf7
 

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