Commercial Photography: From Start to Finish

Lesson 13 of 36

Recap with Q&A

 

Commercial Photography: From Start to Finish

Lesson 13 of 36

Recap with Q&A

 

Lesson Info

Recap with Q&A

I think that looks pretty good for what we you know again for for I think that's what I don't know if I'd call it a finished I think it is I'm pretty proud of this and again the background I probably would maybe picks up a little different but um uh and from here are we able to do so we're pretty much done with this I'll just say we could maybe do just another one of her with the background but well tomorrow what we're gonna do is we're going to be able to um take a picture on gray background great background and then apply a texture to it like a wall texture and and it's a really cool technique and so that way I could you know, show you how I get some of my just simple portrait's but have a kind of like it looks like a textured wall behind them but it's really only gray uh so we'll do that tomorrow and tomorrow we're photographing um a athlete and cliff who writes harley's brought his harley gear and we're going to do some stuff with him make him look about ten years older we're reall...

y grudge him up making up make me look younger well, the grunge look does kind of sometimes at a few years to you but we'll make you look like a million dollars and a superhero so that's tomorrow and also we'll be covering some uh more marketing stuff and on howto bid um what else do we have tomorrow remember I'm putting you on the spot I could find out well you say let me get my outline I could figure it out but it's more in the morning first thing his lecture and then shooting and in photo shop again so same kind of format on ly tomorrow's the sports grungy really kind of tough look I'd be more than happening just kind of do a recap of tomorrow it's not a recap yes okay so we're gonna do understanding the bidding process where is your moment? Morning doing that? That'll be the art of negotiation and money versus art then we're gonna have a lot of live shoot we're gonna do the harley shoot with you on dh then we're going to do a live show with the athletes and then at the end of the day we're going to do more compositing photoshopped in whatever way you have either the background texture or we'll do it athlete compositing and um what do you think that's pretty simple now again do you think about it here's here's how I would tell you and I and I think if you've heard me speak you know that I say this because people e mail me all the time here's my first composite and I say amazing now do three hundred mohr and then sent it to me it takes a lot of composites to get it and I'm still learning techniques and stuff and how to sell the fake and what happens is with time as a viewing audience, we give a little bit more picky has to be a little more believable with time, same thing with skin skin handy if you can't get that old gaza mush and get away with any more so my skills have to be keep increasing in terms of selling the fake and here let's do this I want to look at this one more time it is fun! Do you not get excited about creating images that is so much fun? I didn't have this this morning now I have it, I always say that I didn't have that yesterday. Now I haven't I have another image that I could say I did as an artist and that's the fun that's why I keep doing it that's, why I keep getting up early and getting out, knocking on doors and and recruiting subjects and clients and whatever. So any questions online? Anybody that has a question that yeah, well, we have a lot of questions that kind of run through a lot of the different things can we do a couple of recaps just things that we've done that we covered if you don't mind, so paul wanted to really know if you could just redo how do you flip the background so flipping the background is you take and command t that's free transform and then you go down to a right click so you right click it so let's go back to my layers because I had a tab here um oh and unhook that because I thought maybe I had a problem there so let's go back down to it so we get rid of all this so here's my background command tea chooses and selects the whole thing then I put my cursor or the image itself and I right click it flip horizontal see that you can rotate it warp it I do all this stuff free transformed is amazing so that's how we do that? Okay thank you another question of this from mary from costa rica who said do you have different a different guidelines for what amount of dust and scratches filter you use when doing frequency separation on headshots and body shots or do you use practically the same values I do the same value and that's because the first time I did it it would somehow the editorial that I watch said fifteen radius here's the thing folks you can't just go through life following other people's path there are so many techniques I've learned photoshopped right take someone's technique and then I go in there and I play and I say what would thirty radius do what would two radios do and I try it and I go oh gosh so what I did not show you a frequency separation is when I do the um the stamp not stamp it's the healing brush tool instead of having a brush on normal which does a pretty good stamp if you flip that toe overlay sorry multiply you flip it to multiply it gives it a fifty percent effect half and it also gives you the ability to do global so let's say you have a little spot or you have a big patch if you put it to multiply and you could do the whole passion how did I find them because I tried every stinking blending mode on the planet and I came up with that I didn't learn that from a tutorial so here's what I say take what I've showed you into it when they're playing say okay you learn from this person you learn from this person you go and try your experiment and things come up next thing you know you're teaching a tutorial on something because you I took the time to experiment so joel pushing from clear boston what about sharpening at what stage do you sharpen if at all especially like on a very ethereal photo like that is there any sharpening that you do you know the photo like this on the wall not too long ago someone hand me a book this thick on sharpening ah book that thick three hundred pages on sharpening so what's that tell you there's people that are like engineer brains that go around and they figure this all out right and they tell you here's what I would do I would take an image and I would sharpen it in camera dobie raw and then set it aside go back start over sharpen it at through high pass I sharpened the high pass all the time to radius three maybe at the most so I do that I'll show it to you tomorrow ah you could do on short mask do a couple different sharpening techniques look at all three print them out on your printer and say you know what sharpening raws looks the best to me don't go by someone else's what looks best to them you figured out so there's a couple ways a sharp and do all three or four of them are ten of them whatever and then you go this is what works best under this conditions what my vision is an artist and I think that would be the best way I don't use on sharp mask at all anymore everything I do is either in rahal sharp metal been raw or ill do a high pass that sharpens just the highlights that's it don't worry about any more questions from mike gallant are most of your background shot in horizontal and do you ever shoot your backgrounds in vertical because I love the panel look and I love the cinematic look and if you look at my website a lot of horizontal stuff yes a good percentage of my images are in the horizontal just works for me I do on occasion shoot vertical but very rare very where that's a good question but just the way I am now here's an interesting thing when I shot four by five back in the film days almost all my portraits are vertical when I shot thirty five millimetre they all were horizontal lot time now that I got the pin tex medium format camera I intended to go more vertical because it's amore squared up look right I love the panel thirty five millimeter our digital thirty five millimeter cameras are long so I love that love that pan you know look so um now that I'm shooting more vertical I may go out and start interviewing portrait I made start picking up some backgrounds and more vertical all right well let's take one final question from clifton then we'll wrap it up how on we're looking at you know I'm really not doing a lot of destruction pixels how filters like nick when you apply though apply them to your image is that having a tremendous impact or just a minor impact here's the number one question that I asked nick topaz anyone has third party that is this when I go on push a button does it go from sixteen bit too a bit in the back to sixteen if it does I've just lost all my concrete that supports me they all assure me that it's staying in sixteen bit I had to take their word for it but if in fact you could probably do a test to prove it whether it works or not but yes, in theory it should be a pretty good process I have to trust him but nick I found to be really good um I don't use that many of the plug ins but here's my whole take on plug ins if a plug in gets you to your final goal, use it because the people photo shop only I'm a purist what does that mean? Photoshopped purist? I don't know what that okay? Because there's a lot of things obviously nick in these other topaz and the third what they're doing something right it's probably applying all these things that photo shop does you can pretty much do it for this job but here's the thing that you remember this the button at your hidden millions of other people could hit it too so good or bad but if it fulfills your vision eyes artist go ahead, hit the button do it apply that filter the sunset filter think or whatever it is that you you say I loved but remember, other people could do it. So if you want to set your stuff aside from other people, be careful that you don't just hit the old. Everything is a button, right? You know, a shortcut, get in there and apply that that filter that I applied to vincent was not topaz or nick or whatever that was me going in and adjustment, filter yellow or whatever, and making it look the way I want it. I could have probably found a gold, you know, overlay filter in nick or whatever that might have done that. But I'm just saying I did on my own, and so I was able to find two in it the way I wanted it in photo shop, but I'm not afraid to use it, uh, plug, and if it gets me to my end result.

Class Description


Commercial photography can be a lucrative and artistically fulfilling way to earn a living as a photographer. Learn what it takes to break into the commercial market and create impressive and imaginative work from industry veteran, Joel Grimes.

If you want to attract commercial clients, your existing body of work must have a sophisticated and distinct voice. Joel will coach you through the experience of establishing your own unique voice and show you how to bring it to life through six photo shoots and their corresponding edits. Joel will demonstrate one-light fashion and concept shoots and take you back to the desk to composite and polish them. You’ll also see Joel shooting product and portrait photos using a more elaborate set-up. This course will also cover the business of bidding for commercial work, effective negotiation tactics and final delivery.

If you are ready to break into commercial photography or up your client game, you won’t want to miss this complete guide to shooting, editing and delivering commercial work.

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