How to Be a Commercial Photographer

 

How to Be a Commercial Photographer

 

Lesson Info

Retouching Beer Ad: Adding Glasses

We have a different one for the body that we want to paint up to the head of the beer oh that's right ok so that one is truly just for the head just for that okay, well let's let's go ahead and put the body above that really a mask on there and then go ahead and start painting the body that does look we're rob you mentioned that these brands sometimes provide photography brand guides how detailed does that get that they talk about the heads must be no more than one inch att the top of the glass and things like that as faras ice crystals covering their logos and christmas covering a logo that's just a big big um beer had that content to be a little bit more subjective and that almost goes to brand manager we didn't have a brand manager here on that you know generally it's no more than an inch this one may be a little bit high so we may have aaron go ahead and shrinking and I'm thinking if my memory serves beer head that I liked on the front here is smaller than this so they're going to ...

need to match so we're probably gonna have to have you know aaron do a little manipulation to make sure that the two are pretty close to identical we definitely want one that's you know twice a stick is the other it's gonna be way off thank you. Okay, uh sense to me I wasn't paying attention but I'm here to tell you I've never heard such a good explanation so what I'm doing here just in case you guys are curious why didn't go all the way for the top we've got like, a really an interesting defining like point between yeah line between one set of bubbles and another set of bubbles and the colors quite a bit different here, but instead of trying like mask all the way up to here, which I mean we would have, like, a decent bit of luck, we might try that in just a little bit, but it might just come across looking weird because the bubbles don't call what we have and you also noticed the density that bubbles kind of increases as we get closer to the head, which just doesn't do that with the other files because the head is you know, we have talked there, so what I think I'm gonna do is just change the exposure of the base file this one here to match the exposure of the front file and so it should look like one beer's continuously going up, which we don't actually have to bring this down a little bit too because I think we do want a little bit more bowl, right? Is that right waiting upto? No, I don't know that I want I ah whole also like this big bunch of bubbles that come through I definitely like the way the light is coming through on these bubbles down below okay and we wanted to get rid of that return of the you know, underside of beer head because it gets really dark. What about a light if you lightened it up then I would probably be fine with it to tell you the truth okay let's do let's do like a general fayed here and then I'll lighten it up tio kind of here we go okay, it'll wind up match before you go too far with this beer I would build the other and then so we don't yes so we can compare the two all right, there we go left glass so we're saying pretty organized here like way know what's going on and never go we've got our base file what we did with the right bottle, what we do with left bottle and then what we've got with the left last it'd work a lot of really work yeah how long we got way you have forty five minutes for five minutes just go. All right um right here one six six and one seven four wait, you know, one other thing I'll say about a good re toucher a an expensive and good re toucher is a little bit of shoot insurance you know um particularly something like yesterday where we're going too fast because we just didn't have enough time we needed to get it all done going with the right re toucher even knows he or she may be more expensive they khun b shoot insurance because they can save you can I ask a question came up to see me thank to fool had asked what you think about outsourcing or offshoring the work that aaron's doing and you said a good retouch or do you need to be physical contact with that person? Maybe say something like this? Yeah if it's doing some simple clipping path type thing uh I don't think that that is, you know, as critical and those things could be done very quickly and probably offshore is fine for that I tend to like to work with people directly I want to be able to pop in and see what's going on and, you know, as I said earlier today, so many of my chutes are multiple day and we've got a re toucher in the studio who's going ahead and working on day one's images while we're shooting day two that gives the the client the opportunity to direct both the photo shoot and direct the retouching you can't do that if you're sending it to a different place particularly if it's halfway around the world so um for me it just really doesn't have a lot of application but it doesn't mean that it wouldn't have application for other photographers all right yeah as a really a point I think that your comment on that was perfect um just the same with me as well I mean sometimes it makes sense I've been flown out to shoot before on location and been there to do on site compositing because sometimes it's it's you know what the photo shoot itself might be you know, really really expensive my fee is minuscule compared to the whole shoot but if the shoot relies on some like really heavy compositing it's good to have a person like myself every touch her there on set so they know like if it's actually gonna work we'll do the rough absolutely getting client can't necessarily extrapolated all that asking them to do so would be a lot just to say oh we're gonna merge all these in post they don't have the ability to see that that's not the way they think their you know their daily thought process is about their brand how they can maximize its sales in events in different ways to get out in the marketplace they have a tough time thinking okay, I'm gonna go from this set of numbers and I'm going to really think about it we'll be able to merge all these together it's gonna look like a you know a great result it's there is definitely a different left brain right brain way of thinking and we've gotta cater to that so in that sense it's really good to have a re toucher on site who can show them what's going on and we, you know, were very often are quickly doing rough composites and sending them out so that the client knows we are going to merge these three together this is a real quick rough but you know, it gives him a sense of what's going on yeah, totally at the end of the day you want your client to be like, oh, cool absolutely, you know, which is also why did you know the stars in camera yesterday if you remember at the very beginning it wasn't happening because we had a very specific little spot way in the back we had to get stray light coming directly into the camera and it wasn't there and I made the comment I've done this before with great success, I'm gonna do it again and the first one hit and you guys always do, you know, that's the same exact reaction that the client has I want the new from the client, I don't want to say okay, I'm gonna fix it in post because every time we say the client, I'm gonna fix it in post they've never gone, do you know yeah, it was good with delight and they know what I say fix it in post they don't and that's an interesting point too with my photography a lot of the cool stuff happens in post which it's good and bad because a lot of the times the photo shoot itself is really boring it's like okay, stand in front of this thing and do this you know, like that photo's years is much more your style photography it's much more fantasy like it's a completely different thing than shooting a bottle of beer bottle of beer wench leading your right you wanted to be like right they're beautiful so the blanket's it as much as you can yeah. Good point. Okay, so how do you feel about what we've got going on weight got a little bit of work to get it looks way better on that screen back there contrasts pixelated though uh okay, so let's just go ahead and mark this up let's talk about all the things that uh okay need a little bit of work. Okay? Uh, first and foremost be the beer head on the right to me I think that is about the right size the head yeah, I think it had on the left maybe a little bit too short I wish that the art director was here to actually too short or too long, okay so we'll just bring the head up on just a little bit, okay? The front beer definitely right in here is a little dark in the base sorry is definitely way too dark so that's got to come up without question yeah and just for anyone who's at home watching this the markings that I'm making this or not industry standard markings e circle things and be like, okay, brighter or darker that's that's in my own head but it just kind of popped out and the front of both beer has the edge that's facing us they should be they should white not below yeah it needs to be brighter as well. Okay, all right, so obviously we need to cut them out so we're not seeing all that, you know, stuff on the way we've got to get the bottles and more balance they definitely do not feel as if they're unified yet so I think we need to balance those bottles out quite a bit. How do you mean by that? You know there's too much flair on the on the one on the left. Okay, without question it needs to be much more deep and rich in the tone of the one on the right and this could still use a little bit of smoothing out in order to get a little bit more even with the glow. Yep, I agree completely right on that okay there's still a bit a weirdness yeah there's definitely something weird is going on out there and it also needs a cantaloupe vilks yeah I think we've got to get to the end to me that looks like a saturation shift yeah so that's uh a re toucher that's one of the hardest things to see it took I don't know probably in my third year of doing this relatively seriously that I started to pay attention to saturation a lot of the times it doesn't make se since but saturation ships look like at the top of bottle it looks like it's too light but it's just it's just less it's less saturated that needs to be which is I know it's just it's a weird to think about that but like a lot of says less settled and then you say it's in comparison to this the rest of the bottle yeah yeah actually right it's the flare and the flare will great thing which by the way the flare is almost totally disappearing it seems to me in here charlie disappearing it doesn't seem like it I can barely see it now um yeah it's I mean it's him is it me or does anybody else see that it just seems like the flares almost gone from where we originally started yesterday so I want to get that back and make it happier yeah so this is straight out of camera here I think the majority the flares there I think we'll sweep those yeah, once we added the beer before is a change we definitely need like what's going on between the two we need to exploit we want to enhance that a little bit more okay, perfect. We need to cut these things out. What about the floor here we straightening this out it's it's you know it's a bit skewed and I don't mind the angle that at all okay uh really telling yeah it's it's okay, if it's if it's on an angle that's fine because to me it gives it a little bit of movement as it goes back in space okay, yeah, we need to even out we'll just refined I'll probably make it uh significantly darker. Okay, cool but we do want it there. Ok, perfect. All right. Is there anything else you guys see anything both of both bottles at the top seem to be a bit purple and not blue yeah yeah that's the flare coming through it's making too hot and it's just it's a blackout you want it to remain purple? No, we're gonna call bolted out. Okay, yeah uh yeah, I think ideally was are generally the goal with rita chick is toe have consistency with color, you know, throughout because it is the same color, you know, photographic processes it can change you want that consistent color throughout and then if you do want to start pushing your colors, you can do so on a global level. But you want to start with actually making sure that everything is the same. Um, same hugh saturation. Everything like this with any other? No. Okay. Anything from the interwebs, your webs. I mean, we have a lot of questions, so we do a little q and a right now wait, take three minutes from your place, okay? Not really. You know, I'm just being stupid is actually that's gonna be a long well, robyn, I had talked about calibrating monitors at lunch, so I thought a question just came up from tyler o'neill. Who said we please ask the three of you how often you calibrate what you used to calibrate, to keep the colors consistent and how important that isthe I believe in our city we use and I am may be wrong on this one. I profiler is what we use it that requires us to do it almost on a semi daily basis. So almost every other day, every three days, you kind of it gets to it it's annoying. Well, minders changed them, you know, their temperature fluctuates and they change, so you want to get them back to base. Uh the monitors that we have here they're not calibrated so we've got very different things what you guys were saying upon that monitor is very different from what we're seeing here and this is not truly you know this is not an ideal monitor to retouch how often to you I will say that calibrating your myers never found a laptop monitor that I trusted all right, I just will you hear I do not I do not ever edit seriously gonna lap it up way use the thirty inch apple cinema displays that our studio that apple stopped making why did you stop making that beautiful display was one thing's ever know it was awesome but it still is awesome but uh we also have the you know, twenty seven inch I mac has a much klaus here you know when you put those side by side it's completely different so having that, um the ability to monitor that and two calibrated this is crucial so you don't trust me either I don't know they're just different. So we we try and do everything on that thirty in china that's hard because it's reflective you know, the glossy it makes things look richer and it's prettier but it makes it impossible when you're retouching I think apple needs to bring back their thirty inch matte seriously apple what you do dr people's gary, you people get your connections yeah, yeah I mean I zero up you've got good connections at the local store all right, how about one more question uh this one from bang two fellas wondering if erin if you studied at photo shop or if you learned everything by yourself are you self top? Uh I don't think I could say I learned everything by myself you know, quite a bit out there learning references I think that most of the things that really made a difference was just getting in there and you're playing around but early on there was you know, just using youtube wasn't even around yourself time basically you're mainly self taught with flo shop I would say mainly, but I don't want to take full credit because I'm sure is especially in the beginning there were other resource is out there that are trumps I don't remember anything all right? Well, quite a few people have asked about joanne ma had asked about smart objects and people are talking about, um, like for the last photo if the bottle wouldn't you make that a smart object or do you want to talk about that at all? Get into smart objects? Yeah, so there's just like with everything else uh different people have their own methods do things I don't use smart objects in that way ever uh just I've never had a need to in the case has never been presented to me that that's better than what I currently do I won't make a smart object if I want to put a smart filter on there, but other than that, I don't ever really use more objects um, there are a lot of reasons but what I'm doing I mean, my typical edit in photo shop has a hundred layers and it's just a small objects just no good at that point just because you're going to need to do e mean, especially if we're going to be transforming and, you know, popping different layers on and off, I think smart objects apply more when you when you're working with illustration or type and doing design stuff I know you know, designers and illustrators who were constantly using a smart objects but it's in conjunction with type and there's a lot of other reasons that it's going on I don't think rita cher's very often ever could convert things too smart object yeah, nine off always you know, I would say in the last three years of doing retouching uh a lot um use smart objects like three, four times no not really ever using what percent of your of your time is devoted to re touching, how much to flirt in and how much to your own photography just out of pure interest, because we know you're really busy and you do a lot of cool things. Uh, I would say about eighty percent of my time is personal time, skateboarding and traveling and things like that for all the babes, eighty percent of his time is looking for babes looking for baby. Okay, fruit baskets, send him a fruit basket, babes. So why did that other twenty percent, uh, fifteen percent of that time is learned? Uh, four percent of that is retouching, and then one percent of that is personal photography. Cool, yeah, it's. Interesting. That changes all the time, uh, two years ago would've been a different answer, but currently that's the breakdown, let's, break down, that's, a good break down. Two years ago, it was one hundred fifteen percent of my time was learn.

Class Description

Ready to break into the commercial photography business, but unsure of where to start? Rob Grimm and Gary Martin will help you navigate the ins and outs of the industry by delivering expert advice on an entire gamut of subjects –– from marketing, to shooting, to branding, and location scouting.

Rob and Gary’s 3-day workshop will be your personal guide to every single aspect of commercial photography. You'll learn how to set a budget, advertise your brand, and build your portfolio and client base. These two seasoned pros will also share invaluable technical tips on shooting and retouching.

This course is a one-stop shop for all the tools and skills needed to build a commercial photography portfolio and find your niche in the industry!