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Photo Coverage on Set

Lesson 15 from: The Business of Professional Photo Retouching

Lisa Carney, Simon Peter Raible

Photo Coverage on Set

Lesson 15 from: The Business of Professional Photo Retouching

Lisa Carney, Simon Peter Raible

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Lesson Info

15. Photo Coverage on Set


Class Trailer

Class Introduction


Who Should Be a Retoucher?


Genres of Retouching


Comp vs Finish


Lisa's Path to Retouching


Simon's Path to Retouching


Establishing a Look


Who is The Client?


Lesson Info

Photo Coverage on Set

And the final slide I'm gonna show you right now is coverage. And again, I feel like this is one of those no duh, of course you know to do this. People are not doing this. Coverage. You shoot them tight, you shoot them at three-quarter, you shoot them full frame, and you put alternative backgrounds. Do opposite colors. You're gonna want it. You know you are. And how hard is it to rig a seamless and drop another color down for just a few shots? It's nothing. Seamless paper's cheap. It's not cheap to strip and recolor and then relight 'cause the lighting is gonna, the bounced light and reflective light on her is gonna look different when she's on a light background than when she's on a dark background. And if you have to strip her in and change it, then you have to change all the edging as well. Costs more money. $12 paper, $100 worth of paper. A lot less money. Now, the other thing that drives me bonkos, you seem to be a little less irritated than I. How many times do we get a shot like...

this? Oh, you've got that story. The Jamie Foxx movie. Yeah. No, it happens to me all the time, so I'm just kind of used to it. It was like, "Okay, it's one of these." But it was a great big Hollywood movie. Jamie Foxx, one of the bigger draws as an actor, I get in and they're like, "This is the shot we want." So they did the full photo shoot. Set up the lights perfect. Great cameras, and then the piece that they ended up using was a unit shot. He's coming back with a cup of coffee from the catering truck, talking to someone. There's trucks going behind him and that's the shot they use. He's this big in a horizontal shot, and they want to just crop right into him here and blow him up the size of building. And that's all I got to use. So imagine this. For a moment, imagine this. Jamie Foxx, it's a little bit of a stretch, but imagine. And that much of him is on the side of the Sunset wall. The side of the whole building on the Sunset. Well, I don't know if you're familiar with that building. It's huge. And that's all the frame? What is that, 1/8 of the frame? Mm-hmm. A 35 millimeter frame, on top of that. Nightmare; happens all the time. You want a plate, you shoot one shot of that, you get a plate, and then that's it. You don't ever do that again. You don't need it. When I say you shoot one shot of that and you've got a plate, I mean, you have no model there, you shoot the scene, and then you shoot your model full frame. Not a lot of head space, not a lot of feet space. It's all dead, you don't need it.

Class Materials

Bonus Materials with Purchase

File Naming Convention Sample
Estimate Worksheet Form
Finishing Delivery Example
File Naming Convention Explanation
Worksheet & Billing Checklist
Solar Curves Action

Bonus Materials

Adobe Stock Contributor
Alien Skin Software Discount Code

Ratings and Reviews

Bill Buckley

I'm a photographer who wants to be as good at Photoshop as possible. In my field few retouchers get hired, so it's all on me. Plus my creative vision cannot be accomplished by photography alone. Not to mention that in the field, as a photographer I can't always be perfect. Photoshop to the rescue. This is possibly THE best class I've purchased on Creative Live, and they've all been good. Great insight, entertaining, well taught Lisa and Simon were awesome. Bought more LC tutorials based on this course.

Kari A. Youkey

This course just opened my world. I started ( back in the Jurassic era) as an illustrator/drafter ( pen and ink), then CAD programmer, then GIS analyst with photoshop just coming onto the scene pregnant and unplugged focusing on parenting and my inner artist. I was gifted an IPad 6 years ago in the mist of my Taxi Mom years. My favorite ‘hobby’ became manipulating images and an addiction to Adobe apps. Now, In my new empty nest status, I have been trying to figure out my next direction in life....and CreativeLive has been a wonderful resource to explore different creative opportunities, feeling somewhere between photography and graphic design, I wanted to ‘paint’ photos with my tool of choice the tablet, not the camera. ...but it wasn’t until this course that I clicked with an Aha! I don’t have to become an photographer? I could get paid to retouch? Other people’s photos?.....and, I have a work history skill set that backs it up! Thank you so much for this course! Loved the instructors and how they shared their experiences and knowledge. You two have just provided a wonderful map and whole new path to explore and inspired a much needed creative spark to get back to work❤️. Thank You!

a Creativelive Student

Lisa knocked it out of the ball park again! Amazing work Lisa and Simon! I just can't find the many words that express how much I gain with each and every course she teaches. Once again, a wealth of information that was given in a down to earth manner. I absolutely love her teaching style! Amazing course Lisa and Simon, awesome job!

Student Work