How to Be a Commercial Photographer

Lesson 26 of 34

Retouching Hibiki Bottle: Neck

 

How to Be a Commercial Photographer

Lesson 26 of 34

Retouching Hibiki Bottle: Neck

 

Lesson Info

Retouching Hibiki Bottle: Neck

Really quick tip just in case you guys are going to be bringing things in from, like, a text file or something like that, you can't just because the way the mac works, like I can't work in photo shop and have my text file opened at the same time. So what I'm gonna do, I'm gonna go to my text file, I'm just going to hit shift command for into a screen cap of the text file, and I'm going to bring that in as a there we go as an image into photo shop so I can have them both in there and then this image I can just drag into there we go, I can just drag this image in it command t warp it out and there we go. We've got we've got the notes as a layer in photo chunk out, so I don't have to, like, switch back and forth applications um and this is going to really help us kind of like figure everything out. So with this where we stick it right up there, let's just turn snapping off, okay, so what we want to do is basically start off with one seventeen right with this sort of thing, I really like t...

io get organized straight from the beginning, so I know one seventeen is going to be her base files I'm gonna hit shift command open bracket which is going to move that all the way to the very bottom okay, generally you want to work from the ground up so if something's going to be your first you just work from the ground up than everything else in there I'm gonna just shift, click all those and hit command g to group them all together and then make that group invisible so as we need to, we can just pull files from that group s o we're not super worried about, you know, like keeping everything organized and then we've got our got a little label there too. So yeah, this is basically where we're going to start off with and why don't you guys just tell me what to do? And I'll just do it that's all right, um well, first and foremost, I guess you're gonna want to start to build the entire bottle so let's, grab the very next file you want, just grab the next one, okay? One nineteen. Perfect. So this again I'm gonna hit shift command open bracket, poppet, there we go, pop it out of that group and we could just close this group again, okay, so this will be for the this is for the gold's on the neck label, okay, perfect home not I think that that has has brought too much light on the actual brown background label. Okay, um, so I think we probably just want to use it for the gold's. Yeah, perfect, I like that. I like the way that brown looks without the white card filling in because it's going again, he'll feel more like it's in that kind of dark environment of the nighttime scene. I agree, yeah, I'm going to give a couple of hints for you guys if you want to work in photoshopped quickly photo shop is just it's something that I can take an incredibly long time, or it could be really quick and some of the things that I used to make it really quick, our keyboard shortcuts, you just you want to take a couple days out of your life and just memorize keyboard shortcuts, it's going to save you a lot of time in in the end. So to get to your keyboard shortcuts shift option command kay is the keyboard shortcut for keyboard shortcuts. It's ridiculous that I know that, but you really couldn't do well by knowing the mall. So one of the things that I do when when kind of like looking at an image like this were, I'm turning this layer on and off to see where it's actually doing what we want and things like that there is no keyboard shortcut for turning layer visible or invisible so I'm going to show you guys how to make one and then you can just do that it's gonna make a lot easier so shift option command kay um it's going to do that you couldn't go into your layer and then we're going to go down too I don't remember where it is reveal oh all right you can see basically everything you could do in photo shop is right here photoshopped is really amazing because there are two hundred ways to do the exact same thing it's such has become such a deep program you know, in in its history and its evolution from you know, the very first photo shop. It is amazing how far this program has come and the power that it has it's just not yeah it's giving me a job all right, keep talking. I'm looking for this thing all one I sat side by side with aaron before working on some of my images. I've never seen anybody do something so quickly in my life once he gets his keyboard shortcut the way he wants it were sitting probably three months ago working on one of my files and aaron went like this and in a matter of about forty five seconds there were eighteen layers that were created and the entire image change world did you do that pretty good man yeah they're cool so learn your keyboard shortcuts yeah you know I never do it it makes a difference eh so we here I've found where it says hide layers on gonna hit shift option command I mean and it's going to say it's already used but I'm just going to say excepting go to come I make keyboard shortcuts depending on what I think we're going to actually so in my mind v's like visible make it visible or invisible that's just what I use got it it's going to tell us that it's going to be removed from paste special I don't ever use that so I'm just going to say ok who needs special just no one does it it's just not there we go so now instead of like going old all the way and like trying to put your little cursor on this eyeball you should shift offering command v and I can see what it looks like with him without going another couple things that were going to use shift option command m is I made it in the same way is the way to add a layer mask so instead of going down and click on a layer mask basically you just don't wanna have to go you don't want to have to do this ever I'm almost never going into my men use it makes it incredibly fast it's also it can be a little hard to like follow along what I'm doing because this is like what the heck did you created ten layers in about thirty five seconds and I'm like what did that man just do yeah well if you want it like so where you basically you're doing everything you can to avoid the trackpad just everything possible yeah it's for sheer speed for speed I mean it's just so fast especially when you use a combination of keyboard shortcuts I mean you khun you can work just wait I I don't know I've never clocked I've never clocked it but yeah, well just so you like instead of putting a layer mask on something where you let go and grab the late shift option command am I've said his lame ass command I is invert so I just added a layer mask and inverted it b for the brush toe ops control an option you can control your size with a brush tool so hold on control an option click and drag from the left and right it's gonna make your brush larger and smaller looking up and down will make it harder and softer shift five will bring our open or are filled to about our flow rather to about fifty percent and then I'm just going toe paint white right here on her logo so you know in a very short period of time you could just fix what you want shift option commentary again, we'll just make that visible in angel's again, I'm going to use a slight brush in there as well. There was a question that came in from an e p in arizona for you, erin what's asked, will you be true to the notes that rob has given you? Or will you also take the concept and apply creative liberties to the image? I'm going to completely ignore everything? No, no, no, we're going, we're gonna build it together, bring it through the notes, and then hopefully I'll be suggesting some things that I think could also work with this as well, because I think this is awesome that you just explained all the different shortcuts and just what you're doing, I can what you're doing is perfect, okay, right on, I think I can also kind of help answer that question because, you know, I looked to re toucher to really help make our images better. They obviously have created vision, but at the same time, it's my responsibility and past responsibility to make sure the re toucher doesn't go too far and create something that is not going to be true to what the client wants, because keep in mind, at the end of the day, we're not making images that we necessarily. Want and for us, it's for our client, we have to hit the target for them. That is our job hitting the target for the client so we could do some really creative things and go in a direction that would lead them to be like, what did you just dio so we've got to really avoid that and make sure we do the right thing at the end of the day do the right thing. And here I love how you're just telling everybody short cuts, that's great. Yeah, yeah. Okay, perfect. Do you have an extra resource for those keyboard shortcuts? If people don't have two days out of their life? Study duan floren, dot com okay, keep going, it's good to resource is on floor dot com there's a keyboard shortcut section. Well, yeah, you're very welcome. And it's, actually another great place to do it is if you hit shift option command kay, all the keyboard circuits that are already built into photo shop are right here. Sitting in a file, you can see new window, new document command in new open commando thousand bridge so you can learn what's going on just by going into that menu into and memorizing basically, yep, you can learn it here, and I don't recommend learning everything because it's just you know that's ridiculous, but learn if you find yourself doing a galaxy and blur ten times a day just make yourself a keyboard shortcuts so you're not going filter blur the gals and blur you know what I mean? Because I've been working on photo shops so was photoshopped to not see us too, so regular time on those old dog second his old ways it's really good to learn two new track once? Well, it's just it's just a nice way to do so anything you find yourself doing over and over again make yourself a keyboard shortcut you'll enjoy your life a lot way excuse me, aaron for the keyboard short custom ones that you make when you're changing from different versions of photo shop have they changed it now so that when you upgrade to a new version, your custom presets or whatever you do are going toe that's a really great question you khun go to uh you'll work space here and you can create a new workspace, so if you got a window and you could include your keyboard shortcuts and your work menu in your workspace, so we'll just call this ceo here and so now you can see I'm using a seal workspace this gets stored in the preferences folder somewhere in the photo shop a route folder and you should be able to click and drag that into the new into the new photoshopped that you install or something like that so it'll save you some time in doing that and yeah it's really good question uh okay, I'm gonna explain clipping masks real quick because it's something we're going to use quite a bit here in this class, so basically a clipping mask works like this you if you have something visible on one layer we just have a bunch of red they're going to make a new layer, we're going to choose a different color here there we go, so something like that? Uh, this is a very crude example, but a lot of the times you'll find yourself using a layer mask when you don't need to something like a clipping masks or ah, there are a lot of other tools that are built into photoshopped that do that job much, much easier people just don't know about them and clipping mask it's one of those things. So for instance, here I'm goingto choose to use a clipping mask here on this blue document, so if I want this layer three which has just got blue on it to be visible on lee where layer two is, I don't need to go on describe layer mask option plan g is going to be loaded as a clipping mask, so now this layer three is only visible where layer two is visible you can move each of these layers independently, wolf one another. They're not tied together in any way, but later three is now only be visible where layer two's visible if you want to do another one, it continues to add on to the same thing. So I'm just going paint with my brush wolf, right of their option command g that's going to clip that all the way back down to a layer? Tuas well, so you can see you can kind of stack these up together if you don't remember the keyboard shortcut, you just right, click and go to create or release clipping mask and that'll allow you to do that. So if you're working on something that is relatively specific or your compositing, or you have some something that needs to be changed over and over and over again, and you don't want to mask it out every single time, you can just use clipping masks option bangi, and that will allow you to, uh, basically just do the same thing, it's a much quicker way. So here, what we're going to do is I've got a level adjustment layer because what I want to do, basically, with this file, you can see how it's bringing in that gold, but it's also it's just it's kind of hazing out the label it's hazing out the label and we don't want that we don't want that so if you want to bring up a black levels, you can do that so instead of like trying to get in there and, like do a super job like china, you know, paint around every single letter it doesn't make any sense it would take a long time so if I just bringing the black levels to kind of like reduce that hayes, I could do that with the levels adjustment layer clip it to the other layer and it's only gonna factiva later so I'll show you guys how to do that. So with his levels adjustment layer if I want to just bring the black levels, I could do that just like this you can see it's affecting everything right in the entire image it's affecting the entire image that's where clipping at option command g comes in. So now I can see and that's shift option command v which I just said is a keyboard shortcut it's just going affect this and now all I have to do is color match so this is where it started it and we just pull it in, you can see that's way too dark, we'll just pull it into where it actually color matches right about there and our job is done for me. Our job is done for me, you know, it's not does not coming there's more coming, but with that very particular part of the image we fixed, we think something that would be relatively difficult in a simple way just by using clipping mass in the levels adjustment layer. Yeah, all right, cool. We're ready to move on to our next guy here. Maybe let's grant let's grab the next layer, which is gonna I think, bring some or the gold's in fromthe left on that same necker, which I just want to bring a little about it because right now we're completely using losing the j in japanese and I want that to come out a little bit. All right? So we're also were not quite I don't want to necessarily be even in the way the hubby key glows, but the k has really kind of got got a bright spot in and we're going to need to kind of matched a little bit more. So that's going to definitely help with both the gold edge coming around down here in that band? Well, as the j, you can see how much cleaner that isthe right? And we're also getting quite a bit of different light there's we're going to choose whether we want that on there or not I don't want that I actually like the other light that it's a little bit harsher and a little bit more it makes the label kind of sparkly which feels more like little nighttime lights coming from the chandelier in that kind of stuff that you're gonna have so okay perfect well what I'm gonna do in this case is just choose a relatively small brush to kind of like brush that in right same with j yeah it's I mean it's basically just completely different which so we might have to actually take care of this in a different way rather than just masking that other file in does it it just doesn't look the same it doesn't look better right thing well one is gold card the other's a white card so there's reflecting two different colors into it basically to two different properties so okay and do we have because this is just do you want to see the bottle where you were going no no no I was uh in this case do you feel that that makes it better with me masking in this yeah that I think that helps come out now we got to do with the background a little bit I don't like what's going on with the label behind it but is definitely making japanese pop out okay, I think if you go down you're not going to you know color difference isn't gonna be as bad there we go so we'll just do like a relatively quick masking job there onda also what you were just mentioning is like the the color shift that we're seeing there which so we need to take care of that as well and that can be done basically by using the same same idea that we did with the love of adjustment layers yeah in the clipping masks so what we're gonna do is I'm gonna create this time we'll just create it curves justin layer option command g again will clip that and our goal now is to get this kind of like grayed out logo too little like this can you guys tell me what we need to add color wise fuchsia fuchsia you should just makes everything better uh can we get that grade to look like that that color one it feels like it is definitely missing a good amount of red red question exactly what else uh maybe soon the yellow to some yellow yeah some blue and some yeller exactly so yeah within our adjustment layers here in photo shop we've got a few different color channels we've got rgb which is just a combination of all of our color channels and we've got our red channel here which if you bring that up will increase the amount of red's if you bring it down it's going increase the amount of science so those air two up two of our option right? Next we've got our green channel bringing that up will add more green bring that down will add more magenta so wait, we've got our blue chance I vill, which will add more blue and if you pull that down, will that more yellow? So here, within our adjustment layers, we really hope you have the option to add red sayin green, magenta blue and yellow, which is nice because you can actually make any color from the combination of those colors. So in thinking like there's, no orange, but this label's pretty much a dark orange brown is dark orange. So instead of like grabbing the orange channel, bringing it up, you just use your red channel in the yellow right? So exactly what you said so it actually do that what we're gonna do is crab or red channel pull this up a little bit and then go to our blue channel and pull that down a little bit exactly and here, you know, somewhere in the mix, we're gonna find something that matches a little bit better. Um, we're also going to need to bring the contrast up a little bit, so I'm gonna go to my rgb channel, which is basically coming to a combination of all green and blue, and we're just gonna pull this up just a little bit from the ground I'm looking at all of my mind, I don't got money. Yeah, this is one of the reasons we're doing that some of the some of the light is just going on this on this monitor a little bit. So if you see us looking off there's monitor off camera that we're looking at and it's a little bit bigger so we can see what's going on exactly, exactly so you can see by using that by using the curves adjustment layer here, were able to completely change that teo color match it quite a bit better. I mean, I still like the japan from these looks different. Yeah, I mean, it doesn't have that like texture. I got some fun ways to make texture because, well, they call it the color is also off to now because it's, you know, it's a little bit too much. Yeah. So, you know, I'm assuming you need to mask some of that off of the text that adjustment that you just made it mask it off the text we can totally do that s o the other things that it's kind of missing or that, like white sparkle. Um, you guys want to do it the hard, fun way, yeah, let's do this the hard way, okay, by the way, I'm gonna tell you even as a photographer who's been in this for twenty years, color is a very hard thing, and that is something I really enjoy out of a good re toucher they really no color and how to make those adjustments a little adjustment in color can make things happen real fast, and it could get ugly in a hurry. So a re toucher who knows color is worth a lot of those people that I look for without question color matching is a beast. The other thing that's important about color is knowing how it's going to be used down the road because keep in mind, we're shooting everything rgb, we're working everything rgb print is all cme wai kei, so there's a big conversion that happens in color can kind of go in a wacky way, so you want somebody who really knows how to handle that? Because, again, it's going to speak volumes for what you can deliver to the client at the end of the day when you've nailed that color. Yeah, and on that note, I mean color is just it's hard takes years to, like be able to see color in a very fine waits to be able to look at something and be like, yeah, that needs one percent less blue, right? It's just not something that's going to come to you immediately unless you're born with, you know, like, some people are born with perfect pitch, they could just hear some things some people can see colors extremely well. I'm not one of those people that actually took me a long time of, like, trial and error to learn how to do these things, but using your color channels, getting in there, playing around like, figuring out what everything does a really good way to learn. So one of the things that I'm seeing here between, you know, the chip japan and the ease apartment is are the white little flakes in there that's, that's, what's, kind of nice, so here we're not going to like the clone stamp tool or whatever that's not gonna help us out, so I want to just recreate white flakes, recreate white flakes, yeah, why not it's to it? And we think it happened, it will be hard, so it won't be that hard. You might want to re create enough where we can also bring him into the o and the b three case got too much, and I'm the b and the I have too little. We're just gonna we're just going to do whatever the white flaking up everyone, yes, nice sort of do this, I'm going to create a custom brush, which ah lot of stuff we're going to do today is going to seem relatively complex but as you start do more and more photoshopped this is just going to become part of your toolbox custom brushes might seem like whoa because from russia uh eventually down the line you should use them ten, fifteen times and every minute you do because they're extremely powerful so for a custom brush we're just gonna open a bar brush menu and basically what I've got I've got a new layer here where I'm going tio that's not going to use it says like my test layer and my goal is to create these little I'm a little sick I don't know if you guys can tell from my voice it's gonna like karak all day and make a sound ridiculous but so my goal is to kind of create something that's going to look like those little specks so to do so I'm gonna go in here to my shape dynamics I'm gonna turn my size cheddar all the way up so some of these they're gonna be a little bit larger and some of these going to be a little bit smaller I'm gonna turn my angle jeter up and my roundness tutor oppa's well and we're going to just change around this well he's got the jitters basically this is giving me something that doesn't look like it was done in photo shop that's our angle most going turn scattering on and we're just going to go. I wouldn't bring that up and you can see right here in my little preview window that here now I'm able to scatter, we're gonna turn transfer off. So basically, I've just got these little little scutari dots here that, you know, just kind of, like looked like different things you khun change a lot of properties and things like that, but this is basically, like, a big scattering of dots here, my city, it shaped I'm s I'm gonna turn my minimum size down. So as I paint around with this brush, I'm not painting you to one of these old thoughts. It's they're just being created by me moving my brush around so these in essence, are, you know, relatively similar to those old spartans of another thing that I can do is if I wanted to aiken put on this layer, aiken double click here on the layer and I can add, like in outer glow so I'm gonna put this out or glow on there, which just adds this little glow to every one of these little sparkles. I can change my color here to something that's gonna like fit a little bit better, it's like nice, bright orange color. There we go so you can see those look like little gold specks there we're gonna hit okay so now as I paint with my brush tool I'm like painting gold specks on my image which is kind of cool huh? It's totally cool and I'm like this is totally cool I'm amazed so mrs blumen s so instead of just going in and trying to like clone stamp this stuff in all I'm going to do is just I'm just going to make my own because it's just it's fun so I'm gonna add some of these sparkles here to this japanese and you khun just kind of have fun with us you can use a layer master kind of to find these you can use something like blended but I think to keep things a little more simple we'll just use later mask you ever see anything like this pat no, I never had the time to sit actually watching yeah it's pretty cool so we'll just add some of these keep it in mind I'm not too concerned about whether they overlap the text or not but you said you wanted more on this eyes well yeah so I'm going to try to keep it like relatively close to the you know where the actual sparkles are already exist on you know on our label is here and we can even add that some more of this and stuff like that too now, let's, just pretend that this is your nice sparkle brush that you want to use over and over again. You just right click with your brush menu and go down right over here to this new and we're just going to call it sparkle. Yeah, we are it's gotta be sparkle. What was my little pony? You seen donnie darko know anyone seen donnie darko sparkle motion? Yes, I'm beginning to doubt your commitment to sparkle motion were gonna name this spark emotion and for any daren darko fans out there, you'll know what I'm talking about. Okay, so this our sparkle motion brush so any time I want to let's say it's, you know, later today and we're like let's, bring that sparkle back. I'll have you right click my brush tool. I could just find the spark commotion brush. So I'm going to go back to a regular brush here shift option command m is or keyboard shortcut for adding a layer mask, and what we're going to do is just mask it out of where we don't actually want to be visible, which is, you know, everywhere except for our text. Here we go, fine tuning the details I mean, you think about this, we're just we're looking at the bee in blend or we're looking at the a and japanese and if you think about the percentage of what that is in the entire image that's you know what? It's less than one percent of that image but we're going in and we're gonna massage that detail because when you add up all those little details it means everything to the final image definitely yeah we're gonna add some sparkle right down here man sparkle in it um I would say ninety percent of the reason I did that is just to show you guys some cool stuff you could do in photo shop well the other ten percent is because it makes the image a lot better it makes the image better yes exactly when most retouch has created custom brushed add more sparkle I don't I don't know about that I just I think they should think you set in the bayou bar high and they better pony up yeah I'm gonna get some calls here in a minute like dank my clients are demanding more sparkle to maybe you can package and sell sparkle brushes don't tell me all right there we go so we can kind of just put this in wherever we'd like and it's working you know here on our lettering everything's let's just zoom out and now we can see their foreign after so yeah that adds that question has a bit of sparkle there for you so that I guess is one case where earlier we had the question like him I just going to go buy the notes are we goingto we're going to do a little improv I would say this is under the improv category I don't think you expected me to create a custom brushing no absolutely absolutely not what I did expect is that pat now we're going to sit down and we were gonna address this issue and tell you that had to be fixed I was absolutely not envisioning how you're going to do it because again they're two hundred ways to do something in photo shop and you know this is where the magic of a great re toucher comes in hand they really have a mastery of photo shop and they can go to the one solution out of the two hundred and uh and make it work the past tony looks like you are poised for a question when you're estimating a job with a clock clearly you don't know exactly what how long it's going to take aaron tio go through the detail he's going into higher so how do you properly gauged that when you're building your estimate do you kind of talk with aaron about it? Hey this is what we're gonna do I mean there's really know way in advance for him to know there's no there there are a couple of things number one I know relatively how many different components I'm going to need to photograph this? So when I when I take a look at the product and at the layout, I pretty much know that it's going to take me five or six captures to get the bottle where it needs to be. I know that I'm going to need two or three captures for the glass and I know I'm going to do a couple captures for the background, so I know in my mind that I've got a good dozen source files to start with just over my own experience, I have a good sense of that's going to mean time for the re toucher I will very often get in touch with the re toucher about this project and get a sense from them on how much time they're going to take uh sometimes I don't know which we touch her, I'm going to use, so I just have to guess to mate and keep in mind retouch er's run the range in terms of prices some retouch er's are, you know, forty dollars an hour and others or two hundred dollars an hour. So I have an idea of who I want to use you know, for that job and I'm going to base my retouching prices on their hourly and I'm going to figure out how many hours or how many days because honestly, these air really? You know, days of retouching, we forgot how many days of retouching need to go into it if I can confirm it with them? I do, and we put that number in sometimes I don't have the luxury of knowing who I'm going to work with, or I'm not able to get in touch with the re toucher when the estimate has to go out. I do a good gas, and I tell them we've got two grand to do this. This is where we need to be. So I need you to watch her hours. Let me know if you're going over. I've had re touches go well over and not be able to charge it back to the client. Uh, and, you know, honestly, I'll eat that cost myself, because again, it's my image that I'm giving to them, I wanted to be the best I can. So if I would have taken five hundred hours out of my own fee to pay the re toucher, I usually wind up doing it. But it's, you know, it's a guessing game I've got. I think I've got it down to a pretty good formula now on knowing what the retouching costs are gonna be. I'd like to add that as a re toucher it really depends too is, you know, maybe preachers there you guys are curious, so I'm like, okay, cool, how much can I charge like forty dollars an hour to two hundred dollars is a big range is huge, right? I would say, like the higher and rita cher's work a lot faster and more traditionally is so sometimes it you point a paying more for less experienced re toucher because I mean, we've worked together many times and I can usually pop your files out two hour you cannot come out really fast, but there's also I don't want to come to you with some really mundane things. There are some things that are very simplistic, you've got a lot on your plate and it just doesn't lend itself to your talents, so I will choose another photographer, another retard face it you're amazing should a girl blush, so I'll pick a retouching based on what the project needs you know um there are different levels and it's got to be adjusted to it, so again that goes back to my team, I have several re touches that air in my stable and I will go to the right retouch or for the right job it's knowing who's going to be able to do the right job and letting them do it let's make more stuff happening it's great, yeah, I'm just gonna make visible this group that we've, uh we've done so far. So this was the before and that's the after much, much better and it really didn't take that long. No, it didn't. All we needed to you is a couple clipping masks and some custom brush. Yeah, we're good to go. Okay, can we? In one of those layers we know we've got a little bit brighter stuff. Can we get just a little bit more of a lick of light to come on that cold and maybe a little bit there? It looks like it's dying on the top not too much. I like I like it's around, you know that it's giving us around and feel good, it feels like it's plugging up right there, it's just a little bit dark. Yeah, so there are a lot of ways that we could actually do this first way would be to try to actually, like, pulled this from the file, but I'm gonna actually try to do is just lighten what we already have their with just two regular curves adjustment layer I'm gonna drag that up, hit command I and then just use air brush and just kind of mass this in to see what we can get from the layer that's already there so if we can do this, it just makes it a lot easier. Makes a lot more sense. You can see here on the right were not quite getting the correct coloring. Now, it's two really plugged up, but you can't. But we can change that to.

Class Description

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

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

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

Reviews

Ivan
 

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.