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How to Be a Commercial Photographer

Lesson 33 of 34

Retouching Beer Ad: Beer Glasses Finishing

Rob Grimm, Gary Martin, Aaron Nace

How to Be a Commercial Photographer

Rob Grimm, Gary Martin, Aaron Nace

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Lesson Info

33. Retouching Beer Ad: Beer Glasses Finishing

Lesson Info

Retouching Beer Ad: Beer Glasses Finishing

So we're going to kind of pick up where we left off and focus on getting this right glass just a little bit a little bit, you know way talked about a couple of things one we want to add some more bubbles into the area up here on the right part of the glass or it's just got a bit of an empty hole as well as bring some of the bubbles down into the base the base also needs some work it's not quite there yet and it's got a reflection that's going on that we're definitely not digging once we get that really kind of master, we're going to move to the other side we really like what's going on with the front bottle of the, uh, bud light platinum and we're going to take that label and we're gonna drop it onto the other one uh, which is gonna post some challenges for erin? Because he's gonna have to go around with a little different spirits and slush and make sure he's not cutting one in half and leading a weird little piece and we're going to also make sure that the the glass on the left of bee...

r point left is gonna get close and match what's going on with the one in the right and then last but not least we're going a little we're gonna add a little stars that I shot live in the studio that made everybody go outside those stars so let's go ahead and get started with these bubbles here and we're gonna go a little bit faster place just because we're get a lot to do and I want to make sure by the end this segment that these images were just really, really gorgeous now are you cloning or you gonna make a bubble brush? Yeah, well oh, one of cloning the bubble brush it's possible but it's possibly you actually want there in motion there's a little bit of light and shadow on him a bubble brush is, uh it's totally possible let's see, let's just try cloning something's in and, uh, if it works way we're going changes from normal down here to light yes, we'll bring something like this and my goal here is not really to get, you know, like a crazy amount of bubbles. I just like something that's gonna give us a little bit more just something extra right over there. Here we go, let's put a layer mask on there. Now, one thing that you can do when you are doing this sort of thing is I will go ahead and show you this kind of cool I'm gonna go toe window down here to brush again and we're going to turn on scattering let's, go ahead and scatter and choose a relatively hard edge brush where we go we'll turn on scattering let's turn off our transfer here there we go and you can use this is now a layer mask for these bubbles there we go so instead of like having this radical yeah so instead of having that like soft edge there you can just you can just use this as an actual layer mask for the actual bubbles themselves which is good because it's giving us the bubbles but it's thinning them out so it's not that insane group that that was going on exactly it fends them out but at the same time it it doesn't it doesn't make it look like the bubbles have soft edges which is mostly what you want to avoid um that's mostly what you want to avoid. So by just using a brush like this on the layer mask instead of going in and actually painting the bubbles there themselves you could just you use this on the lame ass and uh hopefully it doesn't look horrible that's theo go make it look horrible. Yeah, here we go so you can see how what when using a regular brush they just kind of fade out like this using a bubble brush like this they fade out in effect but the edges there still that this definition there's definition they fade out with definition makes a big difference makes him geometrical appropriate geometrically appropriate. All right um and you can actually do the same thing like if I wanted to this brush I can actually just create a new preset for this brush and you can use a clone stamp tool with this sort of brush as well. So you khun, you don't have to clone stamp with their regular brush like you, khun totally clone stamp with something like this and it works just fine let's change that from normal down here to lighten as well and put a layer mask on there. Then we'll have to mess this out so you can kind of get the same kind of effect going on down there. And this is what my lame ass looks like if anyone's curious cool just looks like a bunch of little bubbles. Yeah, that's all you get from a zoo that was enough off key singing from robert room was that a song off your first album? It was a song from back in my early career back in the early days, the farrah fawcett days I was pre farah fawcett that's how it that's how it looked very bossy to fall in love with me so looking at this beer, I think you still get a little bit lighten absolutely in these areas here, so we're beginning again use just the curves adjustment layer to kind of bring the brightness up in these areas and then the tears a hole I think it's just a little bit too it's a little too cool I think it could warm up a little bit it's just looking a little blue to me especially down here is picking up a lot of blacks s so it's getting it's getting dark and spot so yeah I greet you come or model of it here we go and that's looking a little bit better they're on so let's go ahead and warm that up we'll go to occur adjustment there and basically again we've been making a lot of orange which is just a little bit of red and take your blue channel and just pull that down a little bit uh and then you can kind of work in that mix especially like down there that you can work in that mix too decide how much like if you pull down the blues yeah that's I like that but I know it's getting too is going a little too far for what their liquid actually is brian I would be careful not to make it to electric I think it down yeah, I'll take the opacity don't just a bit there okay? Okay, perfect and since we already have that developed on that on that one layer you know number two we're just gonna go ahead and mascot in tow this layer as well all right uh the other thing that we can look at is just you know sometimes a saturation ship can can do quite a bit so I'm gonna get my brush tool grab a color that I think is relatively appropriate paint over here and then changes from normal to saturation and that can really help out in case you do have the saturation ships like you can see the haze appear on the top so last you know evens it out evens out that saturation court of it more um waken due back down here as well you want to be sure that you're not painting this over the top of the head and thanks for the bottle or the bottle itself exactly so don't get carried away but there we go yeah pretty cool so let's see that's it's just a quick all those layers finger those don't see much in the night and day with that vault with that glass huh that reflection off the top looks good huge difference yeah it's get it's getting there looks good all right suppressive right class let's take your left last one of the big things I want to do here is color match them what do you guys think it's fun of color between those two it's not perfect I'm no no no but what needs to change the the left one looks a little too reddish to me in comparison to the one on the right yeah, definitely a bit red so the dork a little bit red we're gonna take the blue channel and just kind of pull that down there we go and then paint this back in here and at this point I am using the uh what is that what is purple showing up while we're here? Why purple why was happening right class oh that's the saturation, huh? No way auto shop is actually incredibly boring these tonto slap way yeah that's that's basically a the end goal there okay, it was we did at saturation so that's why we're well this two beers you know, exposure wise to look look at the head here versus the head on the back last yeah, they're very different very different in them up you're totally right jamboree that's not news the one that's sorry. Yeah, just cool your jets ueno you're right. Ah, swinging that there were no you're totally right slap happy on the third day it's good man, this is where the fun stuff happens and this is usually where the most creative like things happen as well, I think any time you're finding this place, you're going to try something you might not normally try which I am I found especially just really does tend to bring things together all right? So we're gonna bring that up and make sure to mask it out right up until that that it's here and then I'd like to bring in the highlight appear as well what do you guys think this is kind of like bring everything together let's just give it a shot. Okay? All right and we want to have this kind of mirror there's only other side yes, exactly what's going on the other side in the shape of the actual last there too that's that's how I like to work all right, so that's gonna come up right here? We're just going to bring that up with the top go to make selection and know we could just grab uh white paint brush you could do this with like a grainy into orbit oftentimes a white paintbrush works just as well just kind of like paint that and make it like super super subtle all right, put a nice leather mask on there. I'm just painted away down down like that. So, um this is that's what we decided right there do we have a white edge beyond exit to me it looks like the edge of the glass is right there so that also then jumps to white you know, I'm talking about on the original mask out there but now I don't know what you mean where it's very white right here this boy did you had to me was that too far over? Yeah, okay, I think the edge of the glasses further in okay cool that's no big normally I would save my layers or my would save the past since we were doing it a little bit of a hurry we did not do that so not a big deal. What we'll do is just kind of go in here and, um we'll just create a whole new holding wedge of our glass here, alright? Yeah it's gonna be better right about there is not a problem thank you. We'll go up there and going makes like, okay, you're the boss man I'm just the one you still thank you I'm plight my mama raised me I'm gonna be playing gotta be polite. All right, there you go. Is that better who that is better. You were right about that. Is that kind of bow out at the bottom there? Yeah. Secret's gonna jones right there. Yeah, okay, cool let's go back to our path. We can go in edit that. All right? What do you think about that? I think it's better explication. Good call, dear let's not go back out when you have a minute kind of look at them. Yeah, I wanted to look at them aside aside because we remember when we had created that little geographically appropriate are geometrically appropriate lips underneath there, I just want to see if we need to do do that on the other side or whether we need to or not we should because it was just my way of saying we need to way and say hey, you better get on it better get on that all right, there we go that looks pretty good uh, again you just kinda have to guess sometimes with this one thing but uh it's an educated guess though yeah we're using the top is a little bit of a a little bit of a guideline there um give that a nice blurt something that's going to look a little bit more appropriate there all right? And then I'm gonna go paint black on my lamb asking about thirty percent just kind of fade that in there I love geography hey what's the capital of turkey salami so you do love your jacket. All right, there we go. What's the capital of washington mistake state of watching some of the audience olympus ugo camera guy olympus that's a good answer way go okay is one of the more important states one out of six audience members knows the capital of this that most people who live here don't even think all right looks good. I didn't know the capital that was a reason why I was asking that feels better feel just has a little bit of different definition down there good yeah, I totally agree I couldn't agree more okay, so how are we looking as faras both of our glasses are concerned I think pretty good how do you feel? Yeah, I think we're we're pretty damn close. Okay, cool let's go ahead and start working on maybe the right label is there's a big part of me that just wants to straighten this out. It was a big part of me that would love for you to straighten that out. It's I guess what I'm deciding what is whether it's time to start everything out yet if I do decide to straighten this out basically we're going in to make a stand visible areas you wouldn't come back wait until the bottles are how we want them yeah, I'd bring the labels up to snuff and get everything like exposure wise where we needed to be yes, because then you can stamp and you can start to straighten things out. I agree. Um so one thing that I'm gonna go ahead and start doing is, um kind of evening out what's going on here with the bottles thes is little glows and things like that I'm not opposed to the globe but right now it's just not nearly well we want some of that glow that the brand definitely want some that evening it out is definitely a smart thing to do we don't want to get rid of it right? Yep. So what I'm gonna do is kind of even it out to start with and then I can work on adding it back in a little bit more of a uniform way alright so anywhere is just kind of getting a little bit too light I'm gonna just go in here kind of pop it down to give it a little bit more of a uniform feeling close the bottle all right let's just do that one more time here here we go because adding it back I'm really not that difficult there we go okay um that's a little bit are pretty think yeah better we'll get up in there as well doing it in photo shop will be able to get like a very nice clean glow with them on the left bottles bothered me quite a bit just didn't it's just hazy it'sjust not just looks not good um so I'm gonna start off by pulling well really just kind of like pulling in my my dark levels here have dark but not black you know right you don't want it to go black we wanted to know I think it's gotta maintain the cobol I mean, if you look at the bottle on the right it still maintains that coal ball exactly exactly s o we do want to maintain it what I want to do I'm kind of like cleaning up um in order to move forward okay, so, uh I'm gonna get rid of this. Yeah that's your floor yeah uh sometimes it could be a little bit confusing, but sometimes you kind of have, like, backtrack and in order to move forward it's like I'm still on a weird russian it's like, um anyone out there you know, when you're applying makeup on a face, sometimes you have to have green to neutral out the reds and then you go in and move tad the make up any people who make up it's kind of like that were like, neutral in we're getting rid of neutralizing, neutralizing in order to build exactly I'm surprised that I knew about that that don't make a putting green on people yeah, you do you did you crazy I don't put makeup on myself but you use it use the same principles in skin retouching like you add dream to skin if it's to read and that that neutrals and out and then you go from there skin retouching and like makeup application are actually really similar, but the goal for the both of us the same way all right, there we go perfect it's amazing how those little changes have made the base of the bottles better and now those necks are getting more and more purple every second that I look at you so now that we've kind of, like, clean that up a little bit, uh, what we're gonna do is here in the right bottle, we're just gonna go ahead and add occur, adjustment there, we're gonna have this brightness back, but we can also go ahead and add a little bit of blue and I'm gonna put it a little bit of green, it doesn't look like it, but there's some green in there as well. So now that I have this color, I have a lot of control over what I want to do with it, and I can add it back in, like, a really nice uniforms fashion that's just going to, like, give us a really nice clean well, you guys can see like, well, look at that it's purdy being ableto adam back, let's match right there, that's, right? And I'm able to do that in like, a really nice controlled manner as well, which is, uh just kind of like it's good, it has a level of refinement that you wouldn't just be really hard to do this trade other camera, basically there we go it's looking pretty good sounds like a challenge, rob, I'm not saying it's impossible, but it would just be hard I'm gonna use basically the same exact, uh blending mode here for the other side as well so earlier you know, we were saying we were going to just kind of like neutralize this in order to build it back now I'm kind of like building and back there we go and we can continue to go even further all right, so quiet is a little quiet all right? And then I'm gonna give this a little bit of a glow here um I I think that's what they intended this to look like on the lower itself like I think they wanted it kind of looked like a little bit of clothes they wanted to I don't know so much if they wanted to gloat maybe if you're talking about this part on the outside here yeah, I mean, this is definitely supposed to read platinum and then yet let's have that little but light kind of glowing this yeah, so just something small like that bills like that? Yeah, and right there on the logo it's just it's just gonna like brighton that up a little bit like bring that nice better glowing there you guys can see there's the before on dh the after it's just kind of like smoothing it up and really when you do this it's good to be zoomed out so you can kind of see you want your great means to be really nice and refined but you'll see how is just doesn't make it it's got a lot more life without question. Much better. Yeah, so these first couple steps are neutralizing and then adding back again. So that's kind of like where the neutralization is important. Now you gotta do that on the left. I don't, I don't, because we're going to do is we're going still cheat, and I'm just gonna take this from the right bottle and put it on the left bottle, so to do that well during grab a new layer, I'm gonna grab my clothes stamp toe and, uh, you guys think I'm joking, but I'm not really I'm just gonna grab it and put it on the other one. Here we go. Um, and robin, I talked about this over the break, but the reason is it's just it's pretty far gone on the left side, to be honest, um, here we go and you have a little skewing to do. Yeah, we'll have to skew a little bit and we're gonna use the same trick to kind of like, scale it in the right place. Do you want me to go ahead? And, like, rotated around me just a little bit, so it doesn't look exactly the same, I don't want the yeah they definitely were not both facing down on the bottle on the left is facing in a little bit okay definitely that's always that in a little bit to there we go that's gonna help out a little bit all right so now that we've got that on there I'm just gonna grab my later mask and work on later asking that's out and this would actually be not a horrible opportunity use this is this little brush and we created here rob you see what erin's doing to battle a lot of this hazing and things like that is there anything you would do differently if you go back and shoot this again and had two or three more hours to how much time of course in a way yeah um you know, a big part of the issue of where we are is the fact that we just on a huge time crunch I would have done at least a half a day pre light on that on that shoot and then probably, you know, spent the better part of two thirds of a day's shooting it. So yeah, without question we need to spend more time on the left bottle making sure that the exposures and everything were matching what we were doing on the right bottle without question and it's a matter of we were moving too fast too fast and you know what? I would never allow myself to be in that position on a shoot when clients were way had a client in here but way had a tighter clock issue here than I do back in the studio because I've always got a day of pre light in question so this is a really good example of some issues some curveballs that keep coming in like I said every job has a current ball and then hang on there's more you know, we felt like we were in a really good place yesterday when we were going through that I was I was feeling good about the images that we were grabbing even though it was fast and um the beer pumpers exploding and all kinds of stuff we're going on um having a good re toucher was gonna shoot insurance he's gonna bring it into the place where it needs to be so we don't have to go back and reshoot it good question anybody else got a question while we're here we come its body are there in a web people and have questions there are always questions from the interwebs well, I guess people someone annie this this is from earlier though so I don't necessarily have a question for exactly this moment but when when you were doing the beer the glass anne pea from a z said why would you want to match? Does commercial photography stray from the inverse rule when it comes to lighting straight from the initial you may find the answer is that the best way? Um you want things to really feel like they belong together okay you don't want to necessarily have one beer looks really dark and completely different from the other the brand managers are going to hate that you know, you might think okay, we could really craft the light have have this thing have a stronger sense of light is as it's moving from the right side to the left side uh but again our job is to highlight the beer in the best way to highlight the brand in the best way that we can so we've got to be really conscious of these colors are the same that the exposures are fairly much the same so it really feels like it's the right um matching of all the product that's out there doesn't make sense is that answering it right? Yes. Okay, thank you. How about a question about the business aspect of this image later? Um bang two fellas wondering at the end who keeps the copyright of the final result? Is it aaron rob both the client you know I have no credit no, you copyright on it I mean he's he's executing work I'm finding these images together but his copyright doesn't go on it there's two things that the copyright was retained with the photographer the image license is purchase by the client so they will buy the usage to this light, this image for a specific amount of time and for a specific set of media. They might be buying this for print ads in north america for one year on lee and that would have a certain price, and it gives them the license to use it. Just for that, they might want to buy this for global usage in unlimited media, which means that they can use it for print. It can use it for outdoor. They can use it for web based media. They can use it for f aside, they can do anything they want with it, and they could do it forever on dh that has a different licenses, so therefore a different price. The copyright is always retained with the photographer. All right, good job answering those questions. Thank you, man. I wouldn't have won. All right. So basically, what I've been doing is just working on blending this other label and it's still not perfect, but doing a few things with the label itself and also underneath the label. So, like that's, how it's kind of coming uh, directly and just using curves, adjustment players and, like, much better, even ng out the background behind it, which gets it in place and then going over top of that and evening, everything out above it as well so it's if you're gonna be pulling in a label like this it's it's not incredibly easy but keep in mind I didn't spend a ton of time asking the label like death label mask it's just I'm sorry that's the mask of the label it's just not that great it's a crazy looking man keep it really just don't ever make that mask that made no sense uh well I didn't want to like do them bubble technique but it doesn't make a ton of sense to spend that much time masking it makes a lot more sense to after you're done masking actually like bring all the details and like matter exposures and you can do that using a crib adjustment layers all right and now I'm just gonna grab the uh there we go I'm just gonna be on the top of the highlight and then we'll be we'll be good to go we're ready to move on to the next section it's getting very quiet again it's getting quiet someone knew something stupid here. Any questions from the in studio? Bob's got a question? Yeah are you concerned that now oh, you just changed that the ice crystals right above the label are duplicated I'm very concerned about it, so I want to see what he does and then we're going to address that very concerned because I don't I don't want it to look as if we have replicated the image on the right but very concerned he's geographically concerned I'm geometrically concerned well t carl and I was concerned in the chat room also said I have a concern over this thank you guys said it simultaneously multiple concerns boy yeah the storm of the state of wei oh my god, what is wrong with you? I won't be doing that I'm gonna just address that yeah, I mean that's relatively simple if you want to take care of something like that it's ice crystal brush right? Yeah. Ice crystal brush no problems or you know, you could just grab a healing brush or something like that so I'm depending on depending what what you're doing you just healing brochettes everything away and really it's it'll be a combination the healing brush tool the phone stamp too and that sort of thing you can kind of move all these things around by using a combination of those different tools um it's gonna it's gonna get a little bit tricky here and most of what it's going to take to keep things looking dumb keep things looking really smooth is just time um it's not really that hard it's just you know, okay, now I need to say I am very concerned e I know you're gonna get there so it totally depends on you know if wei have the time which we should so it's okay it's okay everybody it's just it's just little drops look droplets here it's not the end of the world I promise all right, go have it looks like bad, okay, another thing we can do is look like clones stamp from a different area or you've got you can you got to be careful with that because there's a grady in behind it you know yes, which means the bulb the bubble itself will have a great id going on so just from my own experience that could be a little tricky yes so you can do it? Absolutely you're totally write thie other thing that I can do is just kind of forget about the fact that I even had that up there go with and I think this is what we're probably gonna wind up doing go with the original and just tweet that and just weak yeah um there we go and I'm clone stamping like I'm I'm asking right up until the label I don't really like how my that shift there because we have a highlight there um be nicer for I didn't have to deal with that so be nice sir but you do have to do with it I do have to do with it sorry it's fine just gonna charley horse later I don't know I don't even know what a charley horse is to be honest it's a nine your thigh muscles so if somebody takes a knuckle and they pop in the sign then you get a nice big not yep you're getting one of those later charlie or is coming up all right, I have a question for aaron so when you don't have robin gary around entertain you while you're editing what's your side entertainment of choice do you really watch movies? Do you like to listen to like skrillex and your headphones really loud time tron soundtrack we'll make time go by like something else um yeah, I watch movies quite a bit depending on you know how seriously and it is something I have a lot of things were just kind of like but not this thing you're just doing this for some time yeah it's a good time to catch up on music, you know, chatting with friends and stuff a lot of the times it doesn't sound like it, but you don't want to be paying too much attention when you retouch it's true it's true it's true if you paid too much attention to what you're doing, you tend to get really like you tend to get hyper focused and like really like technical it's you tend to get a lot more tight in your in your work often times with retouching it's kind of like a loose our it's like painting a picture, you know, like things that air there too tight they tend to, like feel static, okay, it's like surgery, you don't want to just kind of want to be paying attention. I would love to go into a college class and have the professors say you don't really want to study history I'm having a hard time getting my hand around I think you get my head around that think you can see from the way I work, I get pretty focused, but you're not retouching you're not a couple different it's just different and I agree, like there are, there are a lot of parts of photography that there are parts of a wife that it's it's good to be really focused, but retouching oftentimes is like is like sketching your like doodling you just like do it, you're like some color their low because up into a certain point everyone can reach such an image too where it's like technically good and then from there it has to be artistically good. You hired me because of the artistic stuff you're an artist, man that's, why are you just you have to just kind of be like me, you can't you can't like get in here and do this just illusions shattered the illusion compan she would say like there is it's normal to feel some madness creeping in like if you are keeping your brain busy with something else like an audiobook or something yeah yeah like do ours and for sure I have a hard time retouching I hate retouching because I can't sit that long I'm far too auntie I need to be up and moving and rather having cancer money and watch the movies I don't wanna watch a movie I want to go do something else completely thanks um yeah, it was a really good question while you know when I was learning to retouch I actually I didn't study a lot of retouching I studied painting because it's retouching it a certain high level is painting like you have to understand color the way a painter understands it and you have to understand light in a certain way and it's just, you know, once you learn the tools that photo shop after has to offer its much closer to painting that it is anything else. So I studied, you know, like different painting techniques and under other painters and they say the same thing it's like you you need that kind of like looseness or you'll just get caught up in the little details and you won't see the big picture or so yeah back just step back and, you know, like I mean, I'm talking to you at the same time I'm doing this, and you're not doing anything you're talking about, we turn these layers on, we'll show you what I've done, but, you know, you could, like, have a conversation with your friends and stuff like that done so you would have done you get sit over here, tell me I don't think it's really cool how I mean, on a lot of these changes that you're making, you're really finessing the curves, and so I'm just wondering, what are some of the other? I mean, I know photoshopped has tons of different capabilities, but sure does I mean, what are some of the other features and photoshopped that you use on a a project like this? Or is it pretty much on a pretty regular basis can question, um, a lot of times, it is just when I first started out with photo shop, I I really felt like I had to know all the tools and all the cool stuff, you know, I do all kinds of really need stuff, but I would say, like, if you can get a pretty good life feeling, going with a brush tool with curves, you can do ninety percent of what I do, it's just after that it's like learning how to paint you know it's like you got a paintbrush and you got some paints it up until that it's just the tools the rest happens in the mind of the painter it's just the same thing so don't you know I would say don't get bogged down with all the tools the photo shop asked offer like master just the brush tool you know curves and see how far you can take that and that's that's where like the tools won't get in your way anymore you can start to like really get in the flow and feel the image and like you know this you know I feel like they should have more orange in it which sounds weird to say that but that's where I feel like the magic comes in I mean you can see everything that I've got today curves curves, curves, curves, courage girls, cars and how am I doing my leather mask brush a brush a brush a brush tal it's like ninety percent of everything I do it our shop it's just it's just those couple of tools and a lot of the stuff just isn't needed so you know stuff like what I just did there you know like adding that highlight and just doing all that that's nice curves russia workers fresh so yeah it's dida while I was talking you e I would wait what was your question did not even answer that question when you know. Okay, cool. Thank you.

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 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!

Class Materials

Bonus Materials with Purchase



Free Bonus Materials

Digital Swag Bag.pdf

Day 1 Presentation Slides.pdf

Day 2 Presentation Slides.pdf

Ratings and Reviews

Student Work

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I have gratefully been watching this tutorial for free online, and as always CreativeLIVE has done an awesome job in bringing one of the best instructors of the trade and his creative team to help us improve and enjoy a higher level of understanding and performance in the skills we would like to achieve. I am humbled as always and ever so grateful. I would love to purchase the course myself, but since I live abroad, it is practically impossible, I hope those who can, would. I would just like to add one of the most interesting things I have learnt from this course is the careful attention these guys are paying to minute details and the amount of patience it takes to achieve their goals in each project. Stay inspiring, Totoo in China


Outstanding course! I'm a former creative director, now photographer full time and have had the unique experience working with studio photographers for commercial products in the past. This course is right on and very close to my experiences, and now that I'm behind the camera, it's nice to see some of those trade secrets revealed. Commercial work is fussy and you often have to sweat the details, but the results can be astonishing and rewarding. Rob and Gary do an excellent job explaining the ins and outs, without any pretention or hold-back on secrets. Something that's always annoyed me in the past, photographers never liked revealing their process. It's great fun watching Rob and Gary work a shoot, and Aaron Nace is beyond amazing in his retouching skills. I don't expect to break into this field, but I wanted to learn how things are done, for my own personal projects. I particularly enjoyed learning how they get the look of ice, ice crystals, and frost on the sides of glass bottles. I purchased several items from Trengrove, as they suggested. Their acrylic products are not cheap, but the quality is amazing and I'm very pleased and looking forward to experimenting. Thanks to all at Creative Live, RGG studios and Aaron Nace for this presentation.

Doors of Imagination Photography

This course is outstanding. I would consider it an advanced level. Having a good understanding of the technical aspects of photography and lighting is recommended. Rob Grimm takes you into two real product shoots. These were not canned demonstrations, but the real thing including working to get the lighting setup just right. The postproduction section with Aaron Nace was enlightening. This does require a good preliminary understanding of Photoshop. It was amazing to watch them build the final images for the client in real time. This is by far my favorite course to date.