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How to Be a Commercial Photographer

Lesson 30 of 34

Retouching Beer Ad: Meeting and Set Up

Rob Grimm, Gary Martin, Aaron Nace

How to Be a Commercial Photographer

Rob Grimm, Gary Martin, Aaron Nace

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Lesson Info

30. Retouching Beer Ad: Meeting and Set Up

Lesson Info

Retouching Beer Ad: Meeting and Set Up

you want to what we're doing now, I have no idea what we're doing. Aaron has not looked at these files or Photoshopped any of this. So it is is all brand new to be a great exercise in what to do when you have when you're on camera and you have no idea what you're about to do improvisation know that sound improvisation. There's a list of things that we have to do is just get video. And one thing we learned this morning is that it doesn't take air nearly as long as he charges us to do this way. You know, these things? Let my secrets that we're gonna put a clock on you. Basically, we've got the bud light Platinum. And when we shot this yesterday, we did a couple things. One, we had a light going bare bulb going right into the lens because we wanted to have that flair. At the end of the day, we did create five or six of these kind of direct light starburst coming through the background, which I'd like to have on their u. I don't want to create them in photo show. I'm going to do both Do yo...

u know why I didn't create them in post Southern rolled different one, So they're all different, But there's a bigger reason. And that is for the client. It is really hard to ask them to go ahead and make that leap of faith that we're just going to do it in post. The more do in camera, the more confidence they have with the total project overall. So a lot of that stuff somebody asked yesterday on the Interwebs Like, why don't you just create this imposed? I could do that. But I want to do everything I can in camera because it gives the client the utmost confidence that we're gonna get the image that we've been telling them we're gonna provide. Um, yeah, I made him a little bit different or just I like him. So we're gonna go with him and see what happens. So we've got two bottles to pours. The front bottle is gonna be composed of two different bottles where we've got kind of the edges. Actually, it's three. We've got three edges. We've got the glow coming through the middle with the label and then we have another one from the neck. So that's really four bottles ever gonna take up the makeup, the front bottle. Same with the left bottle. We've got four bottles. They're gonna be there, and then we've got to beer pores. So what is what is this file here? We're looking. That's just original. That was original. Original composition. What we're looking for since we only have one glass, we had to go ahead and take a capture. We exported it, so we could then grab the beer on the other side and take a look at it and know what we're doing and put it in photo shopping. Kind of mix it. Imagine so we do not need that file. The first file you need is 084 a way for Okay. Perfect. I'm so only four or five. 886 So, do you want to open these and build? Let's just go ahead and I'll just load him up in photo shop, just like begin the whole kit and caboodle. Yeah, before we'll just go to file again down here strips and load files in the stack. This is, like the fastest way to do this and get a You can never get your way through. I know it's not more computer, but it was tough. Whoever organised these, it's a sweaty chicken computer. So we're starting with a with a four here, and I'm gonna go down nine to Okay, Shift click. Volvos hit, OK? And we can hit automatically, E. Which means it's not gonna do it pretty much get a world. That's nice. I wish everything was like that uncertain about a computer? Like cancel, maybe. Okay. Attempt. Yes. Attempt to do this thing Save Kind of like safe kind. That's so weird with the baby bottle coming through there Totally bizarre. Yeah, we're probably not gonna leave that in there. Beaky Bottle Inside Way had both clients. We figured we just Well, it's cross merchandise by bottle. Hobeika Get a six pack that makes a lot of a 60 year old cross words in the Japanese whiskey and Bud Light left. It's 12 year old 12 year old toy. How much? How much is a bottle of that run for anyway? If you books about 60 to it's a good start. Japanese liquid gold. All right, so now we're just waiting on on the for the sweaty chicken computer. I guess it doesn't tell us what it's progressing. It's just like I'm doing something. You're gonna wait until I'm someone say it's almost there. Then hopefully we'll get another progress bar. That's my hope. Okay, I actually get to work on their files. Okay? So the same like before, I'm just gonna start by organizing out. And when I'm working in photo shop and everyone has their own preferences and we were just talking about this summer break. Everyone's got their own way of doing things. If you guys out there on the interwebs have your own way of doing things and the way that I'm doing things just seems dumb. That's totally cool to the way that works for you. And it's fast for you. I'm just doing that for myself, doing the way that I like. So generally I I like to be able to move around my image and when an image is first opens up, if you know, if I'm just using MySpace, but I can't do anything. So I immediately full screen everything. I'm gonna go in here. My preferences Photoshopped actually crashed over the break. So all the preferences that we set our reset, but we can just to him again. I saw the chicken sweat inside the computer crashed. Uh, flick panning. I turn this off every time. It's just what is flick dating? It's just this incredibly annoying thing where you like you're going. Yeah, that's totally Why would you want that? You know, I'm sure that it takes up, like, you know, half of your ram just to be able to do that. But I also don't open documents as tabs. And Photoshopped just tabs don't seem to make a lot of sense to me and Photoshopped. I usually turn off snapping. And I think, actually, all the keyboard shortcuts that I set up probably are now no longer active as well. So we get to recreate those Which is why didn't you save it as a user? Didn't you say that you might be a little in it? Bam, I really like you. You just save so much time. Was that And who's suggestion was that? Whose question was that? Was that someone in the audience? Yes. Yes, you can, in fact, reloaded, even if that's what happened. All right, so we're gonna go. We're starting with 84 Is that correct? Let's just do the same thing we did last time. I think that worked out relatively well. Actually, 85 should be your base because that's going for the edges. And 84 is actually going for the interior in the bottle of liquid. OK, perfect. Let's just go ahead and of this guy in there. All right, So we're gonna start with eight for? I think so. Let's just go ahead and group those down. Put this in here, and then we're just gonna work. We're gonna build a file in the same way that we built the last time. So we're just going to start with, start with something right down here on the bottom, and then pull these other files as we need them. Right? Okay, so we're starting with 85 here and eight fours for the interior and things like that. It's for the interior glow, like all the liquid coming through. With the exception off the label of the label itself, the label doesn't look good at all. Perfect. Single lowing. It's It's not its nuclear. Okay? It's a pronounced nuclear Andi. I guess our focus is a little bit like this guy on the left is a little out. Folks are. We'll be comping in another one that is in focus or we want to be slightly out. And in fact, there's another shot for just the neck of this front bottle because we had to shift. Our focus is we're going to and from having sense, I know you guys all too well. We thought about all this stuff. It's like, Is your job? Yeah, it is gonna It is. All right. Perfect. Well, let's go ahead and start building some of this in. So basically same is before I'm no this little black layer mask into into our document here, and we're gonna load up my brushes air gone? Yeah, this Parker brushes gone o most Markel. So I'm gonna cry unicorn tears. That's what happens. Been Photoshopped crash. Just you're just in trouble. Where's my downloads? Here. Here we go. Retouch brush. Never go. All right, we're back on our brushes. Okay, So we're going to just go ahead and start painting this in here and again. It's totally up to you guys. As far as like what you want, just show. And, um, you kind of want toe, have it feather out of that edge. There were also getting quite a big difference in saturation. Yeah, we're going to get that because we had, you know, one the light is hitting the front of the bottle. It's being reflective. In the second, we've got a card that is pushing the light through the through the liquid, so it's, you know, much more luminous. So that's, you know, something you gotta balance out. Yeah, like, All right. So where were working for? What would you like to see happen with this label? So obviously the label, it's getting a little bit darker there. What I'm gonna actually do is I'm gonna allow it to kind of fade in a little bit. I want to maintain shape of the bottle. You know, it's good to have that kind of highlight with the glow coming on the inside. And it kind of moves and wraps to the edges, and it gets darker. So you maintains and volume in some shape. It's so important that these bottles have that shape, right? Okay. Perfect. And I believe there might be another file specifically for that Bud light and plan there is. There's another. Another file just for the just for the label here. Well, that makes things easier. That's good to know to. Okay. Perfect. Um, also, like a quick photo shop tip. If you guys are gonna be painting something in, I think the border here, a painting. Hold down, shift nettle, restrict your brush from going just up and down or left and right. So I'm not trying to guess Here. I'll just paint in here, hold down shift. And I know I can get a really nice edge right there. Have just brushed off. Go another tip. Tip. Cpt. Ready? Full of brought. You said next. We're not using that. You don't need to worry about painting them in. Okay, so we've got this in here. The bottle, the front of the bottles coming in here and right. Bottleneck label. Okay, so, eight, let's go ahead and grab that in there. There we go. And let's just close this out here too. So this is 88 is our label. Yes, sir. Right. Bottleneck label and neck of bottle. Okay, so that's so That's our next level. It's just loaded layer masking their and bring this in now. Yeah, that's also crooked. So you're gonna have to grab it and rotate it and make it a little bit better, you know? Yes. Exactly. And they're gonna have to pay attention to the spreads in this lodge because they can get thinking kind of nearly there or they can, you know the way. Depending on how you grab them, they can multiply on themselves and break. And you have also weird little lines since one of things. That's a problem with retouching bottles of their sprint since flushed all those little droplets, they have to go somewhere. And they've got to be done the right way. Otherwise, you can break him up and you'll get ridges in them. And that's not what you want. Yeah, it's gonna come out really weird. The other thing that we're seeing here is like the bottle itself is brighter than the label, which usually we see the other way around that, right? Yeah, it's picking up. It's picking up quite a bit above that neck label, but it's getting hot as it gets towards that flare. So I don't know that I completely just like that, you know. All right. Yeah, that makes sense. So how do we look? I mean, how do we like that So far? Not bad. What needs to happen with it? Well, in terms of the label itself, Yes, mainly it needs to rotate. And we need to get more. Yeah, you You're bringing up that silver. So that's better. Okay. Perfect. And then what I want to look at it also affects the top. What about what about this is an option. If we brought the top in here and just kind of, like, allowed it to fade down like that? Yeah, that's good. Uh, no. Cause See how you've got this light that's coming up here. You need to maintain it up there That also in the neck is getting too dark. Then you know, the neck is thin. It's much thinner than the base of the bottle. So it's naturally gonna have a lighter tone to it without question. Okay, that purples gotta go. Purples Gotta go for sure. And I thought we had that in another capture. The purple, the lack of purple, the lack of purpose. Okay, let's see. Left bottom, glow your bottle head nowhere on the right bottle. So okay, but let's go ahead and grab this 86 and see where that's all right. So the 86 I mean, it's there's no purple glow, but it is a bit darker of their as well as that starker happened. Yeah, it seems like everything that has the glowing they're also has the purple top. I think we accepted the Purple Growth, and that was just something we're gonna get rid of. It was the closest that we could get. We accepted a time way embraced it. You know, if you embrace the purple glow a little more off, you're gonna have a better time. Life in general, it's gonna get better. Okay, Purple glow effect. Well, let's go ahead and start working on rotating that label around, and then we can take care of the globe in just a little bit. So go ahead and replace. It's like Well, basically, what I want to do is figure out a way to where I can isolate that up and then rotated so you could do this in a lot of different ways. Renews probably like a stamp visible layer here, similar to what we were doing earlier. Remember? On the baby with the side. He like the side Claire there? Yeah, I'm gonna make a new layer. Then I'm gonna make a stamp visible. So shift option command E for that. And then basically, just select out this entire area. It command J on that. So that's a long way. But basically I've got a layer were just this and it's it's on a new layer there. Just live with capacity. Just a little bit. Kind of Straighten that out until do you think dont pay attention The outs. You know, it's got hard and not just trying to get center because I'm coming in an angle. So getting close that's not a mind. It's your musk. Almost. It's very formidable. My and ask what Twice in my life, man must sunshine and freedom Shotguns and corn and corn nuts shot with just a hint of sunshine in America America Marca You really want to get your retention shops? You need to just alter the way you smell Shotgun in court. My preferred e I get stopped at the airport a lot, but here we go. How we look at a much better We're looking better Platinum. Okay, Perfect So let's go ahead and give her this. Please deal purple thing up there. So for that, there are a lot of ways you can do this curves I usually use if I want to do like a general color shift. If I want to do a color correction like this, there are a couple of different ways to try. Usually, I just start off with, like, the easiest way. And if it works, cool. If it doesn't work, I just moved to a Hardaway. So the easiest way to do something like this would be to grab a brush tool. Grab this blue color paint right over the top of the blue or the purple change later blend mode to Hugh. It's a blue. You instead of a purple. You kind of come down here, get that as well. So if that works, then we just go with that. And if it doesn't, then you have to try to think of something. Change Way can also wind up using curbs on top of it. But this is a good place to like, kind of like get us going. Did you see the top bottle? I guess it's where the liquid stops here yet is Excuse me. There's a liquid level there. Okay, Cool. Um, any other thing that I'm gonna look at, just you do need to get some separation between the silver platinum and the bottle there. Just a little too close. Too close? Yeah. And it looks like the bottle is kind of like, lean enough to the left there, doesn't it? Yeah, well, we were very low with a fairly wide lens. So we're getting up. So we're getting a little bit of key Stoning. Yes, we are. Okay. And we can see that. Hopefully everyone on the interwebs gonna see this to, like, how close the the neck is here on the left compared to the right. And, you know, just trying to put that in the middle there. So what we can do is we did not just like we did the last time. Where way did the label shift? We'll go ahead and retouch it, even though we know it's a little bit messed up, right? Put it all together it all together first, and then we can gonna racket back into place. All right, sector be kind of hard when you're when you're looking at something if you know something's shift like that. But as long as we know, we're gonna be fixing a little bit. All right. Let me just clean up my layer mask. So, what do you think in here with the, uh, with the label itself? Where would you like to do with the label itself? Which one do we have marked for the before? The basically, because there's one I know. We're doing it. 85 85. All right, so anti five. Okay, let's bring in which is basically the Yeah, this is our base level here. Now, one thing I could do. See, I'm sorry. You can see how the bud light is really kind of broken there, So we need to bring that one's that winter. Yeah. Let me try this. I'm gonna duplicate because we're using 85 is our base layer here, so I don't really would just wanna like that. You work right on its wanted it actually bring that up to the top, but we can see, like, the white highlight there. It's actually kind of nice, I think his walls but light. So if I change this late layer blending mode from normal, down to lighten. We can bring that back over top off the glow that was back underneath. And I think that's going to distract them. And knowing the brand, they're gonna hate that. We're gonna hate them unless you make it really, really subtle. Really? Settle. It does give an indication of glass without question, Toe have that kind of reflective property. But just knowing the client as long as I have, they're not gonna dig it. Okay? Yeah, if we knock it down and should take care of, like, the label issues we were having and kind of helped separate gets notice. Well, it's gonna bring a little bit. I don't know if we want some of this size to be more in the I think that the bottom of the bottle is looking on the dark. I was I thought we had something where it was a little lighter and there wasn't Are not, You know, we could go ahead. And if not, we can lighten it up here in the shop. Okay. So you want Oh, knock this level down there. Yeah, digging it. No problem. Cool. You guys can see You know, basically what we're doing here is combining layers in a couple different ways. We're adding this glow back over top, but then we took this bottom file, lightened it up back over top again. So it's kind of just play around here, especially when you come for your blending modes layer after layer. All right? Uh, yeah. It's looking really good. We're still super inconsistent with our, like, glow. Like it's getting that blue going on there. But we're gonna will composite it first, and then we can bring it all together. All right, So 86 is going to be for our edge option on left of right bottle. Okay. Are you guilty where you need it? It's pretty similar. Yeah, it's pretty much pretty much right on. So we're good telling it. Here we go. Gold. All right. Perfect. So we're gonna go. Just do that and just call this right bottle perfect. So we could see. I mean, that took just a couple of minutes. Really? We've taken the bottle from that. That which really doesn't quite a bit better, still needs refinement, but it's definitely yes needs. There's always refinement to be Have Yes, there is. All right, there we go. So then we're gonna bring in our left bottle. So we've changed focus at this point. And, um, what do we have for our bring this over here s 0090 is what we're going to start off with the left bottle. Nine threes or mind? Five and 17107 Yep. All right. So those will get grouped together as well. And then let's just close this down. You can see it. I kind of keeping a group of, like, unused things, and then we'll just call this like, left bottle keeping a very organized, which is pretty important. Yeah. I mean, with all these files, it's like, you know, you're just you're asking for trouble if you're not disorganized. And then again, I usually like to start with my base down here, Lo. So again, we're gonna put a layer mask on their flip it to black, but then I'm gonna paint white on this layer mask background on this. Just curious. We're gonna be doing any What's gonna be the background of this file? It's mainly going to remain black. The flare that's coming in there across really exploit that. I want to give it much more vibrant and really have it pop. And then we're gonna add those multiple stars out there in the back. Go. And the reason that I'm knowing that or I asked to know that is because, um, it really defects. Like how I actually mass it out. I know that I don't have to be that neat in masking up. All right, so we've got 093 for left a bottle. Gloat. There we go. And let's bring that down is wrong. And we're just gonna start painting this in his Well, so on this one, I might. That's not that bad, however, comes through there. What do you think? How? It's coming through the planet. Yeah. Yeah, that's not bad. But the label itself is starting to get a little blurred out. You can see how it varies greatly from that bud light label, you know? Yes, it does. All right. That's gonna be probably a challenge. And we're seeing a ton of haze. Here's Yeah. Hey. Yeah, That's something that we talked about yesterday, but which is it? Fell on the plane of the other kind of days of the flare coming through. Oh, that's way did kind of go over that. Can you tell me what you went over way? We're talking about the fact that the the flare was coming across there and was kind of coming down into the left side that it kind of gave justification to that a little bit at Hes. It doesn't look too much, though. Particularly next to those two bottles. Don't relate. Yeah, they don't. They don't tend to match up well, if I mean, I can always add, like if we do this, I can add the haze back in. But then I think what we want to do is get It's looking a little bit less hazy. And then I think I like the contrast is going on in the bottle on the right, much more. It's OK, you know. It's hazing at way too much left. Perfect. Yeah, let's get to this to a place where we can actually get that hes going on here. It's an interesting color for beer. It's a very difficult color for beer. That cobalt blue is so, so dark. It's really hard to work with. Why we picked It's one of most difficult bottles to photograph. Actually, yeah, I can imagine, because even like looking, it doesn't look like beers in their It looks like water. Yeah, right. As I see no vehicle, here's one of things that's going on. The beer inside of there is yellow, right? It's a It's a warm tone. The bottle is blue and very dark blue. So those two just neutrally during their fighting each other the entire time. Yeah, makes it difficult. So it's just photographs is like a neutral who it's really We're certainly interesting, I guess. Oh, I use the word interesting instead of weird house. That was really, uh, interesting. Okay, so we'll get to which is the platinum on body label. Okay, so that's the one we want there you do with yeah, and it is a bit cleaner. And then, like, it's gonna be You guys did not make this easy on, you know, I didn't want to Didn't want to. All right. That's, uh, my gut tells me instead of bringing this in, we should alter the I'm good. I'm going to say the exact same thing. Yeah, because this is such a drastic change in the background of what's going going on with it, that it's gonna be more trouble than it's worth. I completely agree, and that's maybe a good thing to talk about for a second, like it's good to know that, like to identify when that happens. Sometimes it's like, um, bringing something and you might think would be the easier option with lighting shift changes completely in his. In this case, I really just think it's not worth it. To bring that in. Another option is going back to around 107 and seeing what bottles we shot before and after it. We can absolutely do that. There might be something around. It works. I think that he's right, though it's better to go ahead and work with this one and pump it up and push it to the right spot. Yeah, we'll get a shot. I mean, it's way. We can't guarantee that it's gonna work. But I think giving a shot, it's gonna get us pretty close. If it doesn't work, we'll just we can go back in the files. So this is for the platinum logos and what are we looking for out of this uh, out of the neck label here. Are you gonna see how the glow, you know, kind of comes around? It was really kind of broken. That can't be right. That can't be right. This is Yeah. This is this other file. Here. There were you. I'm just wondering what this blue is your right down there? I don't know. Just just semi transparent tree. Um, I don't know which we had a bottle. Do we have worth? I can just change that color. I don't know why it's doing that. To be honest, that could be just the way that I don't get it. That one could have been messed up. Yeah, they're making people want to drink some platinum. We are? Yeah, I am designed. Said some drifting dry ice paper behind those bottles. Just might make me go out and pick up some platinum way dry one. That's no problem. Yeah, no time at the end where you just make all kinds of silly brushes. Can you make one called the Rattlesnake pony, right? Should be. I want a brush made by you. Name the rattlesnake. That's the one that's for that platinum label for the black wear drawn on, but that's Downing it. This is it. That's for the label, all right, a silver in the background. All right, well, it's going to bring this in. And again. It might be again, a question of Is it gonna work best to bring us in? Or do we just edit what's existing? But I didn't just looking pretty good. I think it's better. That's I think that's another one of the challenges we had with looking at three different monitors yesterday. Oh, my God, yeah. Three very different monitors, right? Actually, it was a challenge to do it What it was a day and 1/2 shoot and 1/2 day, right? I would appreciate looking at one of these bottles. Is that actually possible Zehr one of this to you? Yeah, there's one of them because I can't really tell what's going on this label. I can't tell if it's like a like a round shape here. Well, there's like there's a fuzzy, round blue stuff behind there. We'll look at that fucking around loose policy around blue stuff. Okay, well, that that's a good thing to talk about. Basically, I don't know what this shape is of like of this thing back here. I don't know if it's supposed to be squared off. I don't know if it like fuzz is out. I didn't know if it has a hard edge, it's like it's just it's not clear. No, with light and all the spirits. Just watch on it. Exactly what I was thinking. It was worked on your Yeah, I was thinking it was a strike, you know, stretched out. I'm glad we have. And that's, you know, it's no fault of you know, anyone is just how light works. Sometimes that was me trying toe trying to make you feel good. Your try sugarcoat it just Well, no, it really isn't. It's no one fault. It's just how the light works. So what we need to do now is basically figure out a way to bring that back. So for that, I think I'm just gonna grab a pen tool real quick and just gonna clip it up. I grabbed it in okay time. It's just so weird, isn't it? I like it, OK, it's kind of weird. I like a good I like weird things. What I'm gonna do is go ahead and grab a pen tool. Kind of come around here, make something like this, and then come right back around there. So something that looks like it actually might have some definition there. And then what we're gonna do with this pen selection, there is just, uh we're gonna turn this into a selection, and it falls it out. That's pretty good. Try to match that. Went on here. It is really tight on the on the p without question on the P, and then it's inside of him. It really comes right to the top of the bottom of the letter. Yeah. There we go. All right. We need to add a little make up for some perspective here. All right. Is that looking pretty good? Yeah, that's what I'm pretty tight. Cool. I think it looks good, eh? So what we're gonna do here now is here. Now what we're going to hear now, right? Click go to make selection. And they were going to give it a little bit of a feathering. Uh, something like this. And if you guys are curious on how further this is before you actually start painting and hit queue for the quick mask, actually. See what kind of feathering your looks like. Your, uh you can see the how feathered it is. If it's not feathered enough, you can always add a galaxy and blur to a feather in selection when you're in the quick mask. But in this case, I think it's actually like a double. Very good. It's a double feathery, no big deal. So what we're gonna do now that we have that selection, we're going to inverse or selection shift man, I and I'm gonna paint black on the layer mask right here on the layer, and that's going to allow is to show through and incorporate the feathering all the way up to the label. Yes. Here we go. I was just paying this back here. So, um, that's it looks a little bit weird, but that's weird. I think that the the letter itself the platinum lettering needs to come up a little bit exposure. Um, but it's getting better without question. Yeah, I completely agree. All right. So our layer mask should look relatively need about there. Well, maybe I should not. Maybe you should clean that up a bit. Shut up. Let's get all right, look. So that's very good toe. Pretend like that. No, it's good enough and it's actually gonna need to be altered quite a bit because we're gonna need it like we sq it's crunching, ensued and everything like that. All right, so that's a good place to start with. We've got the platinum on neck label and then we've got our body label. Is that about how we want it there, too? That's just yeah, I mean, that's like straight out of camera there. It's really interesting what's going on between all this stuff here. I guess I'm just playing around with all kinds of transparencies and radiance and these JPL's which there, which means that it's an applied plastic label. So it's an acid Tate. You've got glue on the back of that acetate, so there's a whole bunch of stuff going on, lots of feathering so you can get some really weird little lighting edges. As a result, yeah, it's kind of fun. It keeps it interesting, even look like beer. That's what I mean because it's cobalt blue and it does look clear yellow. Okay, well, we definitely have a cool challenge for us all right. So we've got Basically, our bottles are a central place as of now. And next we have our beer for the airport. Let's go ahead and get everything together. You know, we'll just started going through it. Going through it is because this is kind of the part that just is a little bit more of them. A lot inside the other stuff. Fun stuff. All right, so the beer poor Let's 1 to 6. And There we go and all right. And we're just labeling that left glass. Okay, so if I remember correctly, one of these is for the head and yeah, perfect. Yeah. Let's go ahead and build this in. There we go. And we do have The white card is visible in both of these shots just to the left. Here, the actual which we won't want, which we do not want to do. Um, are you perfect?

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!

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Digital Swag Bag.pdf

Day 1 Presentation Slides.pdf

Day 2 Presentation Slides.pdf

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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.