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Build a High Volume Senior Photography Business

Lesson 27 of 39

Editing Senior Guy Shoot Part 2

Matthew The Body Kemmetmueller

Build a High Volume Senior Photography Business

Matthew The Body Kemmetmueller

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Lesson Info

27. Editing Senior Guy Shoot Part 2


Lesson Info

Editing Senior Guy Shoot Part 2

So we got a anything from the audience you guys getting the concept you're seeing that this really is as simple as I'm telling you like it really is just figuring out your system and sticking to it figuring out your work for figuring out what's important for you to get in the retouching it's the eyes it's the bags it's the blemishes its color pop it's a smooth skin I know that's what I want and so once I set up my system work that way and never ever ever have to worry about that again because I know I'm going to hit that all of my images and I don't question there's just a certain level of work that we don't question we know that we're going to do this on every single image so I have a question about the rename when you would actually take the card out and then rename it two rolls and I mean a zafar is like the camera won't see it but I know that the information is then why do you actually do that? So you don't form at the court so many you know you do have to form at the cards tell yo...

u absolutely have to format your card because when you do that the information is still on the card like so if I shot it and there were half a gig of information on that card just by renaming that file even though the camera can't see those raws even though the camera doesn't know where to look we still know that the information's on that so we still have a half a gig of information on their so to get that information off to make room for an exception with form at the card okay two for may I use it so that I know it's taken off all right cool let's go in here thank the gods were up and running original ratio we got crop that a little bit out and I actually don't mind the camera till well you're going thompson world is wondering how you are switching so fast to brighton and sharpen etcetera is it in the tablet all keyboard shortcuts, man it's all keyboard shortcuts? We went over that the first day but we did we've set up a keyboard shortcut for sharpen now the letter k automatically takes me to my sharpened tool and the keyboard shortcut to the dodge burn saturate sponge tool that is all oh, and if you want to switch between dodge and burn and sponge it's just shift and oh so learning that stuff and that stuff that I was trying to harp on the first day not because like I'm trying to be a drill master anything but learning how to navigate in in light room and photoshopped by not clicking by just typing the keys it's huge it's huge and all these things are just being focused on efficiency, and this is not taken away from any of the camera work that can or can't go into your session. I don't care how many images you shoot, I don't care how much like what you want to do in post if you're clicking around to all your dialog boxes, you are spending way too much time doesn't matter where your keyboard shortcuts if you want, spend an hour photoshopping your images and should be an hour of actually photoshopping I'm not clicking around stuff, although I can think a lot of other things I'd rather do with an hour of my life, yeah, eighty percent so it's, not super girly clothes and that there's the free list of keyboard shortcuts to that came with registering for this class and those are and it's going to show you all the stuff that we did, but some of the stuff that I did, you have to go in and change your preference is you have to go in and see how to do that and you can get the course and watch us do it. You can do it on re watch or any number of ways to figure that out, but there's some of the stuff that we're doing, like with walking tablet and all that it's just you can't just it just doesn't happen you have to make a conscious effort to figure out what's important to you what's the stuff you're doing the most and programming it to these keys so that you can knock it out. I feel like this segment will be much more interesting if we were able to get the soundtrack to, like twenty four and we have, like the clock and where's the president I don't know. Matthew, can I ask you a question? This is from fashion tv in singapore. Oh, they asked me a question when I was on four foot a week, I guess is a regular here incredible who said, you know, most subjects don't have perfect eyes, so what do you do you ever liquefy and I and make make them even or make them the same size? Or is that crossing the line? No, um, but I won't do it by default, like if you have a girl that comes in like it's, like I should say girl, but if you have clients that come in and we'll say, like I get like, us really squinty when I smile and if they make a comment on it, then I will go on and do it by default I generally don't I shot a wedding one time, though, and it was actually really a great reason why I think everyone should do an engagement session like I think that's important thing and I was tell my clients like doing engagement session even if you're not going to buy a thing for me if you're gonna order it doing engagement session because that's gonna be your opportunity to work with me and I'm gonna get to see what it's like to see your images to see how you take direction you're going to see how unfunny I am you're going to see that you're here all these stupid jokes again on your wedding day but you need like it's your it's your dry run so shot this wedding marc and amanda I'm facebook friends with marc and amanda they have a beautiful kid I hope you're watching mark um there when we started doing their engagement session I realized that if I told a joke that really made mark laugh you looked like this s o we consciously like we had identified that as an issue so we had to make sure that during his wedding photography and we saw that right away and engage with session so it wasn't like all of his pictures and engage with session he's squinty but we identified that as an issue and we dealt with it like making sure that he was opening his eyes up but if it's specific like you just kind of have like like a crooked smile or squinty eye I'll fix that for you for free if you let me know that's an issue otherwise it's you scare crooked smile get crooked smile uh I might love your crooked smile you should too you guys wanna know something really impressive I would to my own horn beep beep this is how much time we spend in our boudoir images listen two minutes to do a full retouch so our boot lost up I mean that's crazy and the good news and like and I holler at my re toucher if she's taken too long way we'd go like it's everything at our studio is fast but but never bad like don't confuse it with like mcdonald's it's fast but it's not it's, not jock and you can do amazing speed and great work by having that vision and we talked about vision actually a lot throughout this course like knowing what your image is going to look like and remember that just a simple example of that was I knew what this sports collage was going to look like before I started so we posed him into that you know what I mean? Like that's why we had him go this way with how it looked you know what I mean? Like everything about it wass um I was done with the vision of what we need to get done not gonna mount matthew yes, sir uh somebody was asking about whether he says I don't see him using a color check her passport or expo disco rayna there like white balance stuff I know that you mentioned earlier that you say you know, shoot on anything other than auto white balance but then when you are here in post what do you do? Do you just go by your eye so at my studio everything's like the same everything's the same so the because everything is in the basement we have the same brand lights we have the same brand soft boxes with same brand reflectors throughout our studio system, so realistically I got to get that color right once and I got it that I make a preset I'm dialed and I don't have to worry about it again I for like my other stuff like this I did it all by eye and those color passports and the checkers and all that they're great and if you use it's wonderful, I don't have a problem with it I just generally don't take it along. I'm generally able to identify my light source right out of the gate. I know what I'm doing and then the presets in photo shop in white room get you pretty close all right got it I'm just gonna get that a little bit more just looked a little bit weird, so I wanted to back it off just a little bit there one kind of comment here from barney, he says when zoomed in the images don't appear to be one hundred percent super sharp obviously they must be sharp enough for what he prince but I love to hear your thoughts like do you require one hundred percent tax sharpe images or is that not something you want let's take a look all right with that I mean that'll print what was that yeah I mean they're looking there I don't know certainly can you just confirm they are sharp yeah there there there there looking good to me they were looking good to me and it could be perhaps that um it could be maybe I don't know maybe it's your your feet or maybe maybe he wants to see the images like maybe maybe it isn't his sharpest he like says like if you shoot with a prime lens at one two and you bump up the clarity and you really do that yes, you can get a much sharper image than this there are certainly ways that you can do it in the camera and in post and that would be it's to your tastes whatyou like these are completely like that they're sharp on my end now this photo right here because these backgrounds white house was gracious enough to send us some new ones so we got a little crease in here we gotta make sure we take that out so just using the healing brush tool here let's get weird right up here but we're gonna take care of that right there done okay so when you do the head turn like this the big thing you have to watch out for and it sounds like it just is gonna look really really freaky if you have the nose going through that I if you angle it so the nose breaks the plane of that I or if you have him turned so far that you can't see the full eye socket so just the eyes hanging out then it looks really creepy too so don't do that just they look weird and this kid like again like we're talking about the guys in the girl's session I told you guys like we try to make sure that we we edit with different visions so you'll see that I spent way more time clicking around and with the healing brush to make sure it looks good and we spent way more time making sure that everything was like that that was cleaned up where else is spending a lot less time like running portraiture, which is a plug in that takes some time and it doesn't take a lot of time it takes a little bit time's gonna run right so we'd do that twice so there's there's given taken running these sessions but generally I can edit a guy session faster sharpen it, sharpen it back it out done three left and the crowd goes wild again healing brushed clean it up so I'm just using the option key to pick the skin you want to take similar tones we'll pick underneath the eye we're going to take too big sweeps you want to try too click as few times as possible and photoshopped the more you click the more likely you are to get degradation where it'll look like you were monkeying around so you want to try to keep the clicks when you're doing big stuff you don't want to do like multiple clicks under the eye because fading it it is harder and it's gonna look less riel here and that's good oh and the other thing that I will tell you guys that I didn't deal with with him but I was thinking about it it was like it drives me nuts when high school guys come in for their senior sessions and they don't shave and then you get asked the question like oh can you do that in photoshopped? Absolutely not I can not remove every follicle of your kid's chin you have not going to remove every hair no that is not standard retouching so how do I take care of it have crappy bic razors in my bathroom and you can borrow one and you could take care of that before we start your session I'll pay for the razor you don't have to pay me back that's just included because it's going to save me so much time and your mom's going to be happy she's going to like the pictures more and that happens like all the time when I'm kidding, it was all the time because guys don't think about it and, you know, mom's at work, she comes home. Is that cool background that's an awesome I like that like that's, a very classic like you could sell that so let's, go in here and oh, and I didn't I don't think I told you guys this, but just even zooming in and out, I'm just holding the command in the space bar and that instantly pulls up the, uh, make a fine glass that lets me zoom in and out right away. So I'm not even changing tools at that point that's just like I'm not hitting to go to the view tool, and I'm not doing that I'm just accessing it quickly for what I need, so I think that it's also important, when you're photoshopping this stuff like get in there, don't get in there like crazy, but get in there, get a big screen on what you're working on and then just give you the ability to see your stuff better. And make sure that you're doing a good job in some of this learning, like what portraiture is going to clean out and what you what you, what you need to deal with and what you're going to let the plug and deal with that stuff that you'll pick up as you start using this in your workflow, you're going like, edit it you like? I thought portraiture was gonna take that out. Clearly it didn't. So then you just go back. Just hit command. Z go undo that stab. Go redo it. All right, pressure on it. Got way to do that, klaus. Still alright, let's go boom boom k boom! Boom! Actions flatten portraiture boom! Enter fade eighty percent clothes done. Where did this one way we talked? About what? You're goingto win if you do this or what is going to happen. Tio, what are we going to do to him if he can't do it? Everybody way talked aboutthe consequences. I'm not worried about it. I got you covered. I'm really worried about I got you covered to sit back. Relax, uncle matthew will take care of the rest. All right, so we are in there. And I did mess up you see, I didn't copy my folder, which is what I said I thought I messed up and I've retouched the original x the original j pegs not a big deal I still have my light room catalog I'm just going to export him again that's going to find that same gonna be a thing that messes up at all so let's go in here change this the edits and we're gonna go with one, two, five, two images that are kind of similar I pick one of those cool black and white that one that one let's go that's just kind of a classic image I don't want to monkey around with this too much like I don't want to get like that's going to look really weird with textures and stuff on it just won't be a good look so we're going to go just toss that with a mocha black and white and we're gonna put a vignette on three hundred so tell is wondering whether what we're seeing here is this the actual final retouch that you would use for the finished order like even a wall size image you know, like the ones that you see behind you are is this all that you would do or once they've picked them from the proof book, do you then do an additional level of retouching unless they ask for it unless there's something they see but I didn't and they say oh I really you missed a zit on a schnoz yeah then I will but in general no this is it this is me this is an outpost I'll post this session on the facebook group for people who could see it but he's known copy and put on your website but you guys can use it and do whatever you want like you can take a look these air again this is not like a trophy session this is not I'm gonna win some crazy award off of the session but I'm gonna make money and I'm not spending my life in photo shop so that's what this is about you know what I mean this this whole concept I'm not here to inspire you that you need to go and like do this that and the other thing with with your art that is not it I'm just showing you that I'm getting sellable art case what I did sometimes that mocha kind of gets weird with the skin tone so I went back to my background layer and I pulled up a curves adjustment just dark into down I like it better save it close okay this one let's do a texture on this let's go in and dio no let's not do that one let's go through all of them add a little bit more interest to the photo got it and the remove texture, color cool clothes it done next one and let's go with modern antique close it serviceman yet three hundred close it flattened save done collage time action palate the amazing randy why's it called the amazing randi I'm afraid I couldn't tell you where did we save it? No aunt unloaded in there. All right, let's go through and do this real quick files are done in here we have our edits folder going to go back here. We're going to select these images because these are the ones that he's gonna get proofed and we're going to pull those back in the light room. So if you're in the library moti can just drag your files in we want to make sure that we do not run a preset on them that when we import them that's an important thing to watch so let them all go to print in order catalog print the file test, huh? Ross pix and we're gonna put him right in there and this could be our order catalog save that save that go hand when we went through how to set up our proof book I didn't save it as a template. So we show you how to do that again real quick at the template graphical file look at the file documents speaking stuff digital workflow background images proof book background use anyways okay scale hundred one hundred go down here and again this is all stuff that should be done but we didn't say that the last time so I'm just gonna do a quick it's not going to take that much time and her background color changed black enter up here way want one image one point two five go down here change this to six four and the stroke make sure looks nice print the file proofs that's going let's go find that action we downloaded which was in our finder so we can just reinstall it. All right? Right here now we're just gonna go here click run me all right now it's going to tell me to pick a tall vertical image our files are in this catalog it's folder we're gonna go down to the edits and remember that the first image that we were going to pick its got the number thirteen because it was we did twelve regular files and then we said the sports clash so now oh, it wasn't close that clothes that don't save start over this action is like crazy complex and I do not have the skill set to do this. So this is all stuff that I gotta give big ups tio my buddy for making kirk oak lane you're a hero to me so now all I got to dio it's dragging the corners remember those files are gonna go down the side so I want to make sure that I leave room on the right hand side for that, to kind of come in, where you go like that, like we're going to crop it in close on that side, okay, run it. You want to try to get him all that you try to get the spirit of the pose, you know what I mean? You want to get the ball on that one that mattered three minutes left. Can you do it all day long, got you covered? Don't lose any sleep over it. It's only did one, two, three, four and five. So again, all I'm doing this action just prompts me to go in and do all this stuff. If you can't run this and sell that, you got problems. Yeah, we're just going to leave the name. I actually don't like it.

Class Description

The success of your photography studio depends on your business model, not your location. Learn the key strategies that have propelled a booming second-generation family photography studio for more than 40 years in rural Minnesota.

In this course, Matthew Kemmetmueller will show you how to set up your entire high volume senior photography business step by step — including successful sales tactics, shooting techniques, and efficient workflow practices. You will see Matthew’s strategies in action as he takes you through two live shoots from start to finish — each in under 90 minutes. Matthew will also teach you how to increase the value of your services, market directly to new clients, and create unique products that will delight your customers.

Whether you’ve photographed thousands of seniors or just looking to learn high volume tactics, this course will give you a comprehensive, replicable roadmap for multiplying your revenue.

Class Materials

bonus material with purchase

Lightroom Start to Finish Guide

Order Catalog

Step by Step LR5 and PS Workflow

Keynote 1

Keynote 2

Jen's Design

Lightroom Templates for Ordering

Keynote 3

Syllabus and Keystroke Shortcuts

Order Catalog PSDs

Ratings and Reviews

Student Work

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a Creativelive Student

I decided to listen in on the free course of Build a High Volume Senior Photography Business w/ Matthew Kemmentmueller...I thought it would be good to have the skill sets even if I chose to do another photography forum other than seniors. And I was laughing thru the whole thing...he is one funny guy!! So, I decided to buy it...not only is this course full of great tips/advice/ and "did you know facts" but it's really informative and again, he is down right funny. I'm learning lots. Thanks for having him on Creative Live...this one is a keeper.

Diane Yvon

I absolutely loved this course. I am primarily a maternity and newborn shooter and to my surprise what I learned here applies to my current work as well as developing my senior work. I thoroughly enjoyed Matthews delivery of each topic as it was clear, precise, fun and non intimidating. I will watch this over and over and the course downloads were amazing! 100% satisfied with this course


Matthew's class is excellent! I watched it live, but decided to buy it since it's so foundational. I think his information and materials are excellent, whether someone wants to be "high volume" or not. I love how he continually drove the point home about how so many photographers overwork themselves and gave excellent ways to resolve this issue. CL does such a great job of covering the gamut in education of all types. Thanks!