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The Art & Business of High-End Retouching

Lesson 6 of 32

Shooting for Retouching: Male Fashion


The Art & Business of High-End Retouching

Lesson 6 of 32

Shooting for Retouching: Male Fashion


Lesson Info

Shooting for Retouching: Male Fashion

And the main thing for you tyler is you kind of want like this mad men kind of pose but kind of relaxed use this opc madman help you seem mad hope he seen madman I think you look like jon hamm kind of way just kind of wanna work around with this it's very match very you know there's not much we're not kick back relax day off basically put the game on for you yeah I'm good so I have a go ahead and have a seat and we'll talk through this I want the same face of light now for a male it's going to be like so flat almost clean looking so I'm gonna turn this down one or two stops we'll try it out if you go ahead and uh john is on it so I show you what the end result is that we get one step down from where we were a perfect good and I'm already seeing one thing I want to fix just get that in there let's see where we're at actually pretty good it does the light's on stiller just the modeling ladies in on that one so we've turned that down to stop so if I now went to f seven this is gonna be gr...

eat I get really excited when stuff works you see that's a little bit too bright on the highlight so but I do want more definition in the face so we're gonna try something I could go back to that previous look because it's quite contrast and I do like that now the question is, when you are adjusting lights like that do you prefer to adjust the power on the packard? You just a picture on your camera instead on the power of the pack because I was already at a eleven. Exactly and another dirty secret if I go to f sixteen all the dust on my central, so I'm not gonna do that. Would you pass me my the black rapid strep and there should be a little knob is if you don't have it, it's just the most amazing thing. That's what exactly what I need in the pocket. The most random item I asked if you would attach that on there. Yeah, actually, this is good. We'll just do this like this. I just don't want to phase one. No biggie, but my dear hundred, that would really, really set me back it's so ungraceful. But then I could just do this and I can direct john and I can I can mess up with all right? Good. So let's see where we're at so we're still at that beautiful good john, you have the protect ready I do all right, we're gonna use the medium photo we're going to find a way to fit it in the set that's always really restricted good and john's gonna poke tyler in the fair what is a vortex like what protect isa modify it's ah it's like a octagonal soft box what is it? It's actually it's ten sided so it's a knocked a box that goes to ten, ten years I didn't know that okay I didn't know that I know because I count him as I catch this race they want the box yes, john you're gonna bloxham the light I'm not really concerned about that but I just want to get a really light pop on the face I'm going to show you where we're at right now and I predict that we're gonna have to much light so again I have my voice assisted light stand voice activated light stand sorry I want teo get the bottom of this kind of to be a tie right good on dh we're goingto bring it kind of a little bit toppy just like that and we'll see where we end up with that guy think we'll have to much like looking at the back of the screen nice isn't it great when a plan just comes together? Good should we check our technical details in capture one yeah that I walk through the book through the maze well the camera's standing around good so protect going tell me we probably have almost nothing here in history so the lazy way is where is the expression not the lazy way is this but that's the image kind of guys but I like that high contrast look for men you can get away with so much more but we're going to do this the professional way that screen's more accurate I think so yeah looks lovely isn't it I am I mean I kind of want to get the history sam to be a little bit I am not depending on the history that's a mistake but for retouching aiken make sure that it works for critique and I'm just going to click it to f ate okay so I've gone up from f nine to a fate so we're just going to get that little bit more like see what happens there that's great that's good ok john you khun lucy you can rap a little bit more so you're almost coming in the same direction as as this light it looks really great you know you get and fatih can always just retouch you out man okay gotta be five I want I want I want the sofa yeah and then with that last shot I want the sofa police community no problem I'll outsource it myself okay great great great we'll find the sofa you know and this has happened before and someone will say I want the sofa but this lighting guy in the way and they'll be assistance on sets they literally in the middle of the frame and the director will say take out the assistant I'm like you guys didn't think about taking assistant out while you're shooting and then if you don't have a plate like we didn't shoot plates for bingo yeah, I forgot yeah, you see so critiques gonna work his magic anyway yeah, we'll shoot a plate of the background yeah after we're done with this for sure but we won't have the floor work with it sure, but it's good because we moved her around so he can take sections of it yeah, hopefully good, so but I've literally known photographers to go back and set up all the lighting and just shoot the sofa and that's really terrible that there was a question when you guys were talking about the play because you're not on tribe what sort of perspectives later on the plate will be different? Is that really hard? It is typically the plates will come from similar angle, so he may actually if you're not showing on tripod will receive the same angles variables are matching based on whatever we do because we can adjust to a certain point with perspective and things but not if he's shooting straight on he's not going to shoot a plate like that's from this angle and if he realized the shot that he likes us from this particular angle go shoot a few of around there yeah, I'll do I'll do kind of like this and then I'll just move around and hope that it approximates if it should be more technical but you know everyone I know I trust that's in a tripod takes it off the tribe put hands around yeah, so the only other thing I want to do with this lighting setup because it's kind of almost perfect is let on unroll those jeans and exciting that's a little bit too distracting and then the other thing we just need to make sure tyler is inside of your jacket is white and I don't want to see those bits so you khun self regulate perfect so good and then the other thing is we don't want to have the hand right in front of the frame so maybe we get it yeah that's good so it's not like you know this I'm coming up on the technical term good and relaxed that hands like this good and we're going to just run through a few poses. I don't I have the feeling this is going to be quite a simple easy it I want to try you actually tyler, if you screw your bomb off closer to me and then just lay back really into it like a kind of I don't yeah try it even more what happened and I'm going to step on apple box particularly grab me one of the several boxes please and compete with this set up here on dh on and I don't mind you see for yes this is good okay, tyler give me eye contact here perfect and just bring that arm in a little bit both arms on it great and I don't mind form males it's okay to have all of this um creases and everything that actually works that does as more texture to add more texture on the lighting I really like it you can get away with so much more on men. One thing I will do is I'll ask the onset assistant to bring two of those wood slats back in because I'm goingto I'm shooting from a pee and I'm getting that florine and I think we can just lay one on this side and lay one on this side and just make it much easier for critique in this composition so let's do that. What else did I want to fix? Can I try you without the jacket like if you just lay the jacket over the chair that's fine, we'll hide it but we can retouch it out because I'm really sorry just like you feel it I know it was meant to have one of them study of brown on brown on brown yeah exactly colors good give me like a arm behind the head kind of like so we should see the yeah, I will take just put the tiger behind yeah, and just flex to me as much as you can your biceps good and give me eye contact perfect and pretty would you talk about what I'm getting let's have a look at your screen in a second? Well, we and then we can set this up what I'm what we're getting in terms of a catch light in the eyes and what do you think about that? Just going while you do that? I'm gonna lay in theo capsize actually perfect I love angle is coming and it's also important to make sure that your head is tilted to position that you see catch lights because sometimes what happens is based on your angle. One cat's eye will be a one eye, but there will be anything on the other eye. In that case, what happens is we have to literally copy and paste catch light. Yeah, I do that a lot of times. Really? Yeah, especially because you just had this weird angle and sometimes one eye is squinting a little bit and then you have to either take the catch light or, you know, decreased the other one that doesn't look good no surprising you do it well, yeah, okay, thank you beautiful okay, and I'm going to show ah, see, this is why you have good people. Yeah. Thank you so much. And then we'll jiggle this on here somehow. Good. And I'm going to show what happens when we put this. Where could the wife be flat back in to reflect the light? Back off. Good tyler's going eye contact. Great job. Okay, I'm gonna just some white and I want to see. Well, the hand is still in the shot. The hand, I mean, yeah. That's fine. No, it's fine, but that actually is an interesting thing to show comparison. This is I like this. We've made the set like a labyrinth. It's kind of more realistic than anything let's. See, before we put the v flat in, we had this dark shadow on the side of the face right here. And then we add the b hop back in, and we're just getting all of that detail. This just looks amazing like that. Great. So we're just getting in that little bit of detail, and I actually thought it would kill the image, but it didn't in this case, so it works quite well. There's only a little bit of that light bouncing back. By the time the photo travels to the v flat and comes back, it's lost so much off its power the same with these guys so that works really well I mean I'm quite happy with this you like that show a lot love this I love everything about it great good let's just I guess we can just move some variations of this just for fun I would do make the client happy yeah really working this we're really working this we have another ten minutes let's just do what we want and we feel that it is joke earlier about the line in the panels behind and how if you were really shooting this you would move that clear it out of the way but we're leaving it in there so that pretty casto clint has to get rid of it exactly we just want to show that and also I think it doesn't actually come together like there's something in the way so it's just one of these things that might happen in reality I think it's not a bad bad thing to sew but I'm actually really happy with how this is coming up I would I would like more shots with that that going on you want more shots of john in the family? Yeah yeah yeah of course looking good we'll do that I had this happens to me a lot so if I if I come closer tyler, if you set off the sit off the front of like yeah sit up the front bring yeah perfect he's just on this yeah let's do that I'm gonna have a tag on john we're gonna compete for space here oh, thank you so much yeah and you're gonna bring this in there so lots of rap yeah good where his tags good sign the model what he's aware of his tags hanging out good. Is it okay? Tyler grabbed the jacket how's that great god gonna steal these for my book did it's great good and then just lean on the arm of the because you were the light back a little bit find the frame I wanted it different. No, I don't you're being sarcastic you know, big serious why don't you want to know? And you know I was doing that just for you no good. So we've got sai I see I was going too fast. Yes, some of the lights went firing. Yeah, ok, john, I'm gonna have you come up a little bit good pilot this is great good on dh I'm just now I'm just moving through this kind of different shots good. Can we get like a lifestyle smile here from there yeah there is. Hang on perfect good and then can you sit on the edge now we're moving in closer to the flat that means more like it's going to bounce off that and john come in don't extend that of it yeah yeah it's my my really old messed up so I know how this only one more ok specialized that I yeah perfect all right so that's great he just knows what poses are he's got this down but I think tyler not yes and no do you think it helps you that you see the huntsman thing you feel the set kind of to figure out what the poses are could we also get some later on once you don't just get some more shots that are closer in his well in case you understand portrait or something like that with him well that's just the light and fire and I think that's just the highlights in the top of some highlights coming off the top yeah that's actually the color you in this part here is that what you're going to this party essentially the luminosity of the actual paint whatever it is that's um being captured not the reflection so much because it is so much brighter than everything else in the background it's a beautiful beautiful setup it works but now the light isn't quite as dramatic because we've got him higher up I'm not going to change us but I want to show you guys what happens with that so ask critics suggested yeah would you get me my eighty five mil making protect my assistant happens a lot don't ever work for me good and I'm going to take my eighty five million do some close up now again the there's a difference between the lenses depending on how much glass there is it might use more light so I'm gonna have to check it we have it on set way it's like suddenly everything it's dark and we forget that we've changed the the lens out and even at the same aperture depending on how much blaster is good but the lens cap off I know you guys are watching all right good so I'm getting in closer I'm not changing my life john I think we'll get some structure if you put the jacket back on sorry yeah and then just for that t shirt down a little bit yeah and you can pop the collar let's see that looks weird yeah he's like a nineteen nineties fitness like models but that'll do in this look very good how does that look closer in john we're gonna have a little bit more up and you see it's a little bit darker so I'm again I was I went from f eleven and I ate we've kind of progressed slowly across the whole range perfect good and give me am I gonna come up just a tad sorry way just get here and I'm gonna have a little bit more contrast and just get a little bit more the fame I have thirty six megapixels so we can always zoom in you take what you check the focus for me absolutely it should be good. Yeah that's good should load and it's fine, right it is yes. Good. So we have sharks in the good on dh see, we didn't style this to get anything going on up here. Kind of end up looking like a head shop, but for the sake of retouching, we'll we'll get he likes do you feel like you work better with male models? Are me, um you know what happens is I shoot a lot of males. Why should a lot of girls on then I just kind of get into the zone, so it depends, but I think the difference isn't between males and girls it's more about each personality and some people, you know? I mean, this tile is making the super easy it's just like you knows what's up he's doing the job and we have the lighting all figured out, you know, with the first girl we had to work through that so it's different good. Particularly happy with those kind of close up shots. Yes, let's get one thing. Let's, get one. If I come around, I have enough on this that come around here and I compete with john and we're gonna put the bottom of this that I yeah, and this is just adding a tiny bit of light just to fill in a little bit. And I think we'll end up seeing that in the catch, like two and I'm going to get a less contrast e based on this? Yeah. Perfect that's. Good. John, I think we're fine and I'm cutting off his head again. Good. Just give me a little bit more angle on your face and then look up. Yeah, make it brute. Broody isn't pretty. I might have made that lit up. Good. Do we have what we need? I believe so. I think the one that's this is the one. All your hard work. Yeah, we just that contrast, you look works really well. Isn't it amazing what the difference is? Yeah. Let me go back to my ship. Twenty four, seventy shoots and plates of this. Yes. And then I think that's us done joining for today. I know that that's. Really? Just for the face. Yeah. You have tightened this really tight area. Thank you, it's. Like that back on there. Good. And I'm tyler, your you are released. Thank you. Good job. Good job. Thank you. And, john, you can take the photo out, and I'm gonna, um, change my we're gonna go from f eight eleven and vary in between just shoot a bunch of plates. So I'm going to start like this, and I don't even mind that john is there because I don't think I'm going to use the whole sofa. I'm going to focus on the front of the sofa on the background, do some close in shots like this. There it is to some like this and kind of I went, I think I went down a little bit. I have terrible faulty memory. So you did that's perfect kind of that way, having trouble focusing here, and I was on the apple box, too. Some of them, yeah was for the girl for him, just for him as well, I think all right, get some plates and then I went over here, get a landscape one on top, and I was over here and then I was also in tight and we just shoot around on. This is pretty kind of, um, and this is a very common to because what happens is sometimes the clients will have a select shot. We love this. And then they'll come back and look at all the shops have taken and see the exact, you know, plate that was shot similarly and then send it over together so I could remove things like hands coming in the frame and stuff like that without having to be a wizard. I could just copy and paste it, make it look good. Do you think we have enough plates? I think so. I think you've got every angle or looking for good so that's fantastic, just like a spray and pray and pray and pray. Yeah, yeah, kind of when I do that good. I'm really, really, really happy with that. I know me too. Do you typically have a number of shots you take per shooters? Just dependent on who? Many too many ways. In many cases we did four looks that day I shot a thousand images, but now doing like for four looks together collectively yeah, ways. But we changed jewelry, pieces and stuff, so it I mean, we live in the digital age, I can shoot more. So with a client like you just have him every single frame and say hey time, time what you want or do you send them the ones that you could take you like first, well, the nice thing is in capture they can sit here, and I had to do this. And let's say they want to use this image. They press one or two or three, and you'll see that this image down here, it gets started one to three. So I had them do that while the shots were coming in. And if you're working on the shop capture one weren't auto advance, so it knows to do that.

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!!

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