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How to Be a Commercial Photographer

Lesson 28 of 34

Retouching Hibiki Bottle: Glass & Bottle

Rob Grimm, Gary Martin, Aaron Nace

How to Be a Commercial Photographer

Rob Grimm, Gary Martin, Aaron Nace

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Lesson Info

28. Retouching Hibiki Bottle: Glass & Bottle

Lesson Info

Retouching Hibiki Bottle: Glass & Bottle

We do have a lot to go through so we're basically just gonna pick up back where we were before and we're just gonna go with a little bit faster pace that's cool with everyone here so yeah basically before the break you know we did this with reflections on the front label in the top label we have a ton more to go through and uh what do you say let's just get started jump right to go through it there's some stuff happened oh yeah that's really nice even if I do I'm starting to warm up more to what's going on in there in the bottle in the bottle is looking really good so we've got one seventy and one seventy one let's go ahead and serve working with those because that that is thea those of the bottle reflection files right? I don't know what to say what I say okay one seventy one for the first round of ice and glass okay, yeah way did too variations of glass so I think we wantto liking the second one so first round of ice we don't need to worry about this one here is not needed no, but if...

we liked what was going on on the inside of the bottle we might want to pick a shift and pick up some of that okay, perfect so we're going to use this guy and said is that right no because I thought we had a we had a shot with the glass that had more of like a top and yet in this area was much lighter like that a little ok excuse me that's what we want at last oh, this is it right here. Okay, perfect. So that's one eighty two for the second round of ice so we're dumping the first round of ice we don't want that we don't want that at all no way is it cool? So those two were going to go away and, uh this is basically just going to be okay perfect. So that's gonna be the last thing we want to use like perfect. Okay, so for this but we're gonna do is basically the same thing we've been doing papa later mask on that as hit command. I did, uh, change it into black and I was gonna paint white right over top of this, uh, the goal here being a couple of things it's uh, location shift just a little bit it's hard to sell tell sometimes it's the location it's moved just a little bit, uh, probably focus to tell you, too, that I had to rack my focus ever so slightly so that that shift is coming from there it's coming from there, okay, cool, not a problem if I do need to move it around we can do that just by lowering the opacity and it just kind of like popping it back in place right over top of where the other one is over the break I did with the penta ll cut these things out so I might just have to re cut this out but it's not a big deal all right so we want to go ahead and bring that green in that that rainbow that that happens sometimes with the acrylic that's acrylic isis coming through you know that's in the glass and when light comes to it sometimes it can just rainbow in combination with the polarizer so we're gonna have to fix that too. Okay? Not only is it doing that it's really rambling you can also see how much red is in the reflection yeah, yeah it's cool looking it's cool that is totally not cool line isn't gonna like that. What about the top of this glass being being lighter there? Would you want that lighter and you want the dark uh this is not the one for the glass there's another one for for the top glass because you can see my hand is in there it's being over the top of the glass itself okay, so which that that one yes for the time that gets rid of some of those ugly highlights that we had that I didn't want okay, perfect. So what we want to do is basically, like the same thing here load that is a black player mask and then pop this in then we're going to have a line these together. So I'm just using my move to alto to kind of get that in place, which is not a not a big deal there, all right? And that actually does help out with a lot that helps with what's going on in the background there now we did want this way want to surface of that weight the surface of the liquid to come back in from the your painting in a way, I want it back. Yeah, be careful here I can tell you that some of me were yeah, so paint that part out I'll just re color it it's actually, no it's not as wrong as it looks, it's just the wrong color, right? So well, yeah, well re color and that's a part of, you know, as a re toucher to know that like, if I were to take the time and, like, completely paint that out and just be a waste of time because I can re color it is just do the same thing, all right, so I'm painting this black and then is there anything that we want to do here with bottom of wheat do you like that? I like that yeah better start yeah it's way too distracting on the way okay, perfect so this makes my job a little easier as well bringing this in all right so how do you feel about and then we've got to get rid of this yellow cards with gold card over here on the left who there we go and I'm just doing a rough reason being I'm gonna be penciling all this out anyway in just a little bit all right around here but I think that you know a couple of things one the ice is definitely gonna have to come up on exposure it still feels a little bit dark okay feeling the mids so I think we're gonna want to bring that up and the green is obviously got to go you know that greens gotta go gotta go no problem all right to get rid of that green um really not that hard actually we're gonna do is I'm gonna grab a new layer you could do this a million different ways I'm gonna grab a brush tool and hold ultra option and grab this color is paint right over here we just changed our layer blend won't take you and then the green just will go automatically to the same exact you that I'm painting with so I'm just a really quick, easy way I mean you will get some of this um the fraction there in the glass but how does that look good I'm decided because it's just kind of changed everything a little bit changed a lot um I can kind of come out let's pump up the exposure and see what happens with because that might have that's gonna have an effect on the color anyway surfing do you want just the highest to come up or do you want it? I want the mids in the highest too come on mainly the mids midst come on. Okay, perfect. So that this I'm just gonna use occurs just been later again and we're just gonna choose the like large soft brush and just kind of paint this in and then we're gonna be able to choose how right we'd actually like this but I want the doors to say the same for the dark the dark still need to have punch yeah, we want that to be nice and rich in there sell it to contrast you know, I don't think so. Okay, now with this we're getting some pretty decent color ships who here in this area top. So what we're gonna do is again we could describe occurs justin layer forever red channel bring that up around the blue channel bring that down about there we go and then paint this back in and we're doing a just a bit of a color match from from before to after and then the same thing could be done here so that was kind of in the area remember earlier we said we just using you we just color mass that it just use a slightly smaller brushing continue to paint that in um and if if that still doesn't look exactly right what we can do is just grab uh clone stamp tool or whatever let's just grab a uh regular brush here with sampling the current envelope paint that in there incredibly fast and you can see how a good re toucher and expensive re toucher expensive your inexpensive reach but he's doing away faster than most other researchers could ever do it well there's gonna be someone some professional other re toucher out there watching this way whenever there's always a name in there yeah look at you the way that was true and you know it your shaft is much all right good for you. Good for you ok, so how we looking they're good can we go out? I want to zoom out uh nice it's looking really good. Now this, uh, this white reflection here do we want to give her that? Yeah, I want to get rid of that I don't like that that's pretty pretty easy as well we're going to do is describe clones tamp tool that's on the screen, right? Yeah, what is that I've retouched so many smudges on my screen before you like funny yeah, I like quiet calls damn tools work on, so I gotta move it a little bit and see that right move the emergency if it goes all right, there's a quick tip here is, well, it's really nice when you're using the clones timeto if you hold down the option as well as the shift key, you can see a preview so like, if I were to select that option and shift, I could see a preview of what I want so I could actually in this case, like, bring bring that, you know, kind of like back in there so you can actually, like, add some interesting detail in with what you're doing and see if it is in fact going to match before you actually start laying down some call stan, which is really no, yeah, it's a good thing to do, okay, great. So how we looking with thea? I think you're working a little bit faster. We are, you know, of anyone notice we're looking really good. I like that glass a lot like that's going on the inside isis, really making me happy and it's also telling me that I definitely want to pick up some of the gold card that was coming through the bottle and I want to use that on the left side and get that same type of contrast and quality that's happening in that glass. I want that to happen on the left side of the bottle, on the left side of the bottom, we just try one more thing that you guys might like, but I'm going to do is just bring in gonna paint white here, right over my ice. Oh, much better. Thank you, that's a good move. We're going, we're going to use blend ifs, I'm gonna double click on our layer itself blend what blend if blended, if it's like what if, but blend it's like what if it's one of most powerful things in photoshopped that almost no one knows about it? I don't know about it anybody else know about blend? If you watch flirting you before, I've never, uh, it's really great it's a way for you to be able to blend a layer, make a layer of visible based on the color ranges or grey levels of the layer itself or the underlying layers got it. So for this, if I want us to just show up in the highlights of the ice, I'll have to do is hold cult or option grabbed this from the left of the right kind of drag this in and I can choose how I want my highlight bubbles to go and then I could change this later blooding go to something like overlay right to give it that little snap just the snap and I can choose how much like, you know it's just gonna be visible on the highlights and then I can and I fight with my capacity here, so just a quick with little ways it gives it that that little bit of christmas exactly. It just adds, like, a little bit over the top and the wonderful thing about its you have a lot of control over what you're actually doing, which is really nice. All right, cool. So let's? Yes, well, it's pretty good change their yeah, and then we have this is going to be four are the bottle itself. Celeste, you said for the inside of a glass on the left on the left side really kind of give give it the same quality that's going on and, um, drink uh, hopefully conform a sentence drink. Here we go. Now, this is going to compete a little bit with what we already have and have to blend it exactly and for the most part we want this toe lighten everything. So do you guys remember there's a blending mood that will allow us to lighten things? No it's going way yes, we remember it's called light so we're going to do that I'm going to change us from normal down here lighten and now we're able to just kind of like bring that in and I can bring in that nice glow from the glass and not really worry about affecting anything else I don't like it where it hits up top or it starts to round onto the shoulder of the bottle like right up here don't I definitely don't like that wait, where are we looking at here a little higher here up here yeah, I don't like that part all right, so we can kind of just paint that back out no problem at all and we're just using blending loads to do this. Do you like this little bit of light kind of coming in there? Would you say that a little dark prefered darker and that you know, we've got to highlights of a hitting from the reflectors that we had on both the left and right side. I want those go away as well when we're at that point. All right, so here's what I'm doing a shift clicking the landmasses so I can see what it looks like before and after and I can see there's some really nice highlights here, especially yeah, I was gonna say I like what's going on the surface too yeah, so let's go ahead and bring that in. So in case you guys were curious like what else could we bring in look at it and go on the glass to I kind of like what's going on in the reflection in the glass down here? Well yeah, some of that that is really I don't know what full strength but, you know, wait it's highlighting down here which is pulling my eye we're gonna want to clean that up in the reflection the glass itself, the reflection in the glass has got a couple of highlights in there and that's way too strong my eyes pulling to it so this stuff here that and it was to the left of it well, right? Yeah let's, let's take care of all of our highlights going at the same time before we do that let's go ahead and make sure we've got everything else cleaned and placed in there. So this, um one seven one let's see what that's for first round of ice in glass don't need it so this we don't he goes away okay, one eleven yet we've already used that we're down here. So according to our notes, this is everything all right yeah is right look certainly back plate except for the back plate so what we're going to do now is we've got everything comes together uh our goal now is basically just to clean this up and have everything looks good so what we're gonna do is I'll go ahead and so we've done we haven't done everything that I want to do, okay? One, when you're when you're at the point where you feel that you're ready to kind of shift the bottle around, we have to rotate that label we gotta grab it and straighten it up a little bit this way the whole label if you look at it it's crooked on there also there's that little tiny white highlight that's going vertically been driving me nuts you wanted out? I don't know, it just seems like I don't know it's just been driving me nuts wasn't let's nuke it. Okay, well, what else here? Just kind of tell me what's going on and we'll change it. These two highlights you've got to go he's too. Ok, so you guys can see I'm kind of marking this up. Um this is a really good step to take, so you can kind of get an idea of what you want to do before you actually jump in and do. The other thing I'll say is in looking at the shoulder this this whole section right here between there and the beaky neck label it's really feeling great and a lot of really great a lot of that has to do with what's coming through the door, a tree, and so I think we need to work on that in terms of making that one a lot more contrast to give it a better shape on better volume and get a get out of the grey area. Um, we might want to see where we're going when we drop it into the background plate, what we want to bring in there, but I'm gonna let you kind of guide me on where we're going to go with that. Yes, the other thing I want to ask you, pat, um, I don't know, I don't know what that that is if that's been like a bamboo plant or something, is that right enough? Do you want to give them more pop with a little more? I like, you know, I mean, like, I like the kind of the color that's coming in from on the right side of the label. Yeah, yeah. Like that a lot. You want to bring that up? You know, if we can bring that up a little bit, maybe I don't know. It just looks really nice. We could do that. I do have a question for your uh uh, this spot right here. Does that bother you on the on the surface? Yeah okay absolutely yeah but again we're going to drop this on another service so let's see what happens when we move the reflection in the glass into that surface perfect okay, so with that basically I'm going to just start in here they're a couple of tools that will be really helpful here in getting this sort of thing taking care of the clones sam tool and the healing brushed pool chlo stamped it was really great when you have anything that needs uh to be in a very specific location especially when you have some good ed work if you're in like if you're retouching a skin healing brush tool is generally that well you want to go with but in this case I think that like the healing brush tool for instance um here we go when he's the ray they're healing brush tool oftentimes it can kind of like blend things in a weird way yeah it sze blending versus the clone stamp which is replacing replaces a very different approach I used clone way more than anything and that's for what we do in terms of fixing things it seems that we're cloning things over more than we're healing things yep exactly in especially in this case where you have such tight like detail working your clones damn tools really going to be to go to eso again holding especially when you have to line things up this little tip holding down all I want is well, a shift you do oh yeah absolutely because what I'm doing what you're doing that is I'm connecting things there's usually something going through a bottle that's being interrupted by a highlight or something else and I have to connect it so if I if I don't have it lined up right you know I'm wasting my time so I absolutely preview it so I know that when I'm retouching it's going the right way perfect even though I hardly retouched I don't have the patience to sit in a chair and you already got a babe yeah there is that no retouching requires you see where aaron's priorities are another thing was such a lady magnet it is not a thing just zero percent all right, here we go actually watched a documentary about twenty hawk recently and christian tolstoy and uh he was talking about how he learned to skate so we could get ladies that's like his early early motivation but skating gets the ladies aaron well, there is a pretty big difference between your boy everybody wants to skater boy hey asking too so double whammy like my boyfriend skate that's what we all say and double threat man well, you know it is what it is I just like hurting myself be careful, man, I know yeah, I don't need the other angle to break any time soon no all right so yeah basically we're just going through and getting getting this sort of thing taken care of so it's kind of funny because originally I thought I liked that highlight quite a bit put it in intentionally and I was not only going to keep it I was going to multiply it and replicated on down and um once we're sitting here looking at it it's not the right answer it's a it's a little cool if it were to stay in I think it could be warmed up a little bit yeah I don't think it's the right thing I mean quite honestly I just I don't like this once more it was just the placement of it for me like you mean it was so close to the center of the bottle that was just it was very fun aaron you know todd erin says that you should photoshopped yourself into some awesome skate photos and she showed those to the lady you should do is rip off a bunch of tony hawk images and put your hand on him you know and don't tell them that I'm good at photoshopped photoshopped no no what's photoshopped knew can I see you escaped new you can see pictures they always skate on espn I got so good it was just like really didn't find any good competition anymore so it's just like no point in continuing tired yeah I retired good thinking no big deal whatever alright this's actually this stuff is a great use for the healing rush tool because the healing brush toe will blend so you can kind of like just hit j and just goto work really quickly on this sort of stuff and you don't have to worry about anything matching I'm going to spend a super long time on this sort of thing right now just because we have quite a bit more to get through but on a real job this all this stuff would be really, really clean you know, one of things I want to mention about errand I think is really interesting and I have since adopted it since meeting him and that is using a very small portion of the wack um pad because it does take longer it's just weird when you're using a much bigger section using the entire rackham um aaron showed me to, you know, make that concise and you do smaller movements uh and it's much faster it's much easier to wear work cause you're really just using the tips of your fingers versus the entirety of your arm. Yeah, yeah it's like any guitar piano player knows it's like you don't need a lift your fingers all the way off it's like if you could stay like you know a person who's typing who's doing this is like all you're officially that type of this well, that way I can get rates. I earlier her fingers were barely moving because you're good in typing. It's a little game I play let's. Just not talk about that anymore, alright? Yeah, we'll just move on. Forget that I'm that big of a dork, but I pay attention to people's fingers when they typed, assess their typing skills. I don't actually do that, it's all good. I made that up. Anybody having quick questions when we're going caroling care has got a microphone in her hand. How common is it to sit and watch him do like killing brush? All these little sort of correction type things like come. So would you normally sit and do sort of more of the design work with the re toucher and then let him go with all of these? Kind of we would sit down first and talk about all this? He would usually these things happen in round meaning he would do a first round of retouching. He would send it to me. I wouldn't crab the j peg that he sent and make a new layer. I grab it and you know the airbrush tool and to turn the background color to red with four grand called a red, and I will go through and I would mark it up like I'm doing on an old fashioned print and I had mark it up with an actual marker so I go through and I mark up the things that I want to change the client the art director might be doing the exact same thing on then we send it back and we usually go through two or three rounds there are re touches that I work with in the studio. Julie missy has been one of my long time rita cher's when we're doing multiple day jobs, she'll come in on day two and start retouching all the images from day one and she's you know, in the retouching room right down in the studio that's a huge advantage for clients because as we're going through multiple days of the job they can see how the first couple of days of retouching are going they can approve it that tells julie that tells me exactly what their style is and what they want to see and we can carry that through the rest of the stuff it also gets a job delivered faster so there are multiple different ways that we go about doing it I can just kind of be popping in the retention of them when she's got more stuff to show us, but a lot of times were working remotely with three touches, so you know, I mean I could be shooting something in in st louis sending it up to aaron in chicago uh or vice versa you know um aaron usually never comes to the studio in chicago until the end of the day when we sit down and take a look at all the images and then hand him off to him and he goes um but again were always giving him notes and making sure he knows what's going on so this is uncommon to be sitting here side by side totally uncommon it's incredibly cool but incredibly uncommon thankyou so gentlemen yes paddles your car has arrived great way we're going to say goodbye to mr powell's who has joined us for the last couple days way can't have an empty chair maybe we can find somebody to philip it's gary martin kari what's up gary look, those were like the three amigos we have like three megan oh do you remember you remember your members while ofyou cass best movie ever won many reasons loving if you thought we were behind on time before uh we're just we're in drive help jerry is gonna put us right in the tank. How you doing that right there this is a clone stamp to nothing fancy really just clones stamping yeah there's a little bit of the panhandle I'm seeing show up to in the middle I wanna clean that up this here go yeah, most of this stuff is just clung stamp toe over and it's it's really great to just kind of, like, make friends with this tool because it's make friends with it? Yeah, just kind of got a first name basis hang out with mr clothes stand that kind of was a very bob bob ross ism thing. Bob ross of finish up, I've been called that many times, and I'm so proud to have that moniker. Barbara says the man, uh, work on your froze a little bit it's coming don't worry about that way. We went out to dinner last night, and I revealed the bomb that I'm officially growing my hair barbara style, huh? He's going with the mullet first of the mullet first? Yeah, a year or two of the mullet it's gonna be amazing? Yes, uh, what I'm also doing here is every time I'm like, kind of switching to a new part of the image, I'm just creating a new layer really quickly. Uh, reason being is it's just a little easier to separate everything out by layer so let's, just say I do something that I don't like, we'll just delete the layer, turn it off rather than trying to, like locate where it's, part of one layer that you just did a bunch of stuffed, exactly, exactly it makes for a big file, but that's okay, yeah, and if you really need to you congar ahead emerge all that stuff later, but when computers nowadays they're so fast and memory is really cheap it's just like yeah, not only that, but it you know, when I delivered to a client's they can like, go in there and pop layers on and off so I don't so much use undue as much as I you just use layers layers they're kind of, in my opinion, a really nice replacement for history. You can just use them toe kind of like, you know, is everything we've done up until this point it's not destructive I mean, I can just turn off and on all the retouching that I've done especially, you know, drilling down my layers so it's, if someone wanted to like, get in here and change a lot about this file, all they would have to do is turn these layers off tonight's bugger meals take that away! Yeah, no worries. So it's a it's a really nice way. So it's, you know, it's really effective for me, but it's also affected for any client who comes through and they're like, oh, can we move this thing or, you know, can we turn this little affection on them just like goto layer five turned off and like whoa, I think one of the things that's really interesting about images to when you're looked when you re touching it you continue to see more and more stuff all the time it's amazing how many details there really are in this thing that least I'm paying attention to just there's a lot that goes on yeah, you can lose your life in a file yeah pretty quickly it's really easy to over analyse honest to god. So rob um so where do you find re touches like erin um where do you find him? Like paris or regular rita cher's in the seediest part of town same places to go to buy drugs. Wait that's we actually found aaron on the hands when we open our chicago studio I was looking for rita cher's in the area and his word came up that really stood out so we contacted him that way. Yeah, hansen is a good place to find people like that and also asking around um talk to other photographers who have good retention relationships because, you know, like I've got five or six I could recommend for for different purposes but yeah, we found any through the hands and then started doing some flirting stuff with him it's been fun but it's been a great time you guys are the best, so you gotta question no all right so how we looking here? Is there anything else looks kind of like taking out to you yeah now I'm seeing that highlight down there that light down there and the way you need to straighten that label and we're probably good okay all right yeah let's go ahead and take care of a couple more highlights and straight that label out and then we can um work on kind enhancing some of our color um with this I'm also creating new layers quite frequently and I've got my clone stamp tool there's a setting where it appear recon sample current and below or all layers so it allows you to clone stamp on a new layer which is really important so I would recommend staying away from clone stamping on like a background layer base layer oh yeah that's a big no no yeah, just doing anything on your background layers and a bad idea for me to go ahead and give her that little highlight. Teo just kind of like the only one hanging out here. Um how do you decide which highlights to keep like the natural ones that you want sometimes just by looking at it? You know, going through this process you know, we really thought we wanted to have that thin highlight going and replicate it in order to bring the facets out and as we're starting to retouch and bring the other components together we realized that it wasn't working together, so one had to go, um, that's. One of things that is interesting about working in this way, where you're doing multiple captures in order to build something. What you may really feel is gonna be the answer. As you then see, those things come together, they start to compete, so one thing has to go. So, you know, that's a great example. We're starting, teo, enjoy what's coming through the bottle, using that bit of the gold card from that shop with the the cocktail, bringing that through kind of changed everything else that we were doing. Oh, yeah, just adding, yeah, that's gonna be nice and delicious. Home that's gonna make me happy. And one of the things that I would really recommend for anyone else is doing that sort of thing is, I mean, colors it's a relatively difficult thing to wrap your head around there's hundreds of millions of colors that the human eye can perceive. And I'm nailing the right one right off the bat. It is pretty difficult, but I would say like, don't try to get it exactly right because using occurs adjustment layer like if I need to go in here and add more reds, aiken can do so just by looking at it or if I needed you take away the amount of blues like give it like a nice golden yellow I can do that too, so don't beat yourself up over getting like the perfect color on, you know, right off the bat, because there's always gonna be an opportunity to kind of right, but learn color, I mean, color is one of the most critical things that that re toucher does without question. It is so important, particularly as it then gets turned over to the client, gets converted to see him like a if the color is not right to begin with it's going to be harder for them on the back side. I mean, they could do a lot with without question on there and in post, but we want to give him that everything we can, but it's. Nice for me, too. Yeah. So the other thing is, if you if you add a color that you wind up liking whole downshift and just click on your layer and you can see how that's gonna affect some other things, so originally, I kind of like in some of that warm let's, just have some of that more in there. So I think what you do, that once we get on to the real background, that's a. Yeah, because we might have to do that with everything that you know, that warm color might really help, uh, make it feel more like incandescent lights that you haven't night going on anyway. Yeah, that's, really nice. So we'll just keep that in our keep that in our memory mates. Just store that store that right there, huh?

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

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Free Bonus Materials

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.