Pre Shoot Communication
Lesson 16 from: The Business of Professional Photo RetouchingLisa Carney, Simon Peter Raible
Pre Shoot Communication
Lesson 16 from: The Business of Professional Photo RetouchingLisa Carney, Simon Peter Raible
Lessons
Class Introduction
11:05 2Who Should Be a Retoucher?
09:18 3Genres of Retouching
15:25 4Comp vs Finish
06:34 5Lisa's Path to Retouching
08:51 6Simon's Path to Retouching
21:01 7Establishing a Look
16:54 8Who is The Client?
11:41What is The Job?
12:30 10How to Estimate a Job
17:25 11Pricing Your Jobs
10:34 12Billing
19:02 13Retouchers at Photoshoots Overview
08:14 14Budget Busters on Photoshoots
05:24 15Photo Coverage on Set
02:29 16Pre Shoot Communication
03:40 17Female Model Examples
12:28 18Male Model Examples
13:00 19On Set Recap
04:12 20Retouchers on Set Q&A
06:40 21Comping on Set
11:36 22Demo Images from Shoot
15:35 23Tools of The Trade
10:28 24Digital Bag of Tricks
14:14 25Getting Hired as a Retoucher
17:50 26Being a Retoucher Q&A
08:23 27Production Management
24:51 28Folder Naming Convention
08:40 29File Naming Convention
15:22 30Mark Ups
31:39 31Workflow Overview
08:44 32Computer Organization Workflow
13:39 33Software Organization & Brushes
11:47 34Libraries & Layer Management
14:31 35Office Space Workflow
07:22 36Build Your Network
07:39 37Finishing Touches Checklist
03:48 38Stacking Order
07:16 39Res-Up Files
03:42 40Sharpening Files
07:28 41Noise on Files
12:23 42File Types
04:10 43Quality Control
25:11 44Delivering Final Files
16:52 45When Issues Arise
03:01 46How to Mitigate Problems on Set
15:21 47Solving Problems in Post
08:29 48Casting Cards vs In Person
03:57 49How to Come Back from Mistakes
05:04 50Business & Promotion
08:31 51Website Portfolio Samples
12:49 52Promotion on Social Networks
05:44 53Organizations to Join
03:54 54Craftsmanship & Work Ethic
11:52Lesson Info
Pre Shoot Communication
So we're gonna move on. So here's how this is gonna work, and it's a little interesting, I think. Simon is gonna be the retoucher onset and he's gonna be in his position. Why thank you. Go ahead and scoot on over there, darlin'. I am, think of me as a fantasma, I'm not actually here. I'm gonna be walking through the set and talking about what you're looking for. Please note that when you're on a job, you would not be doing this. The retoucher has no right to walk in to a set and make changes and make demands. You don't do that. I'm gonna show you what we're looking for, and how I'm gonna talk to the photographer, and give direction how I would really do it and then, hopefully give you guys some ideas. So I'm gonna invite Casey on, he's our photographer. Yay, our fabulous photographer. And, one of the things I wanna talk about is when you're starting a job with a photographer, you wanna definitely communicate with him. The key thing is he is the captain of the ship and you need to k...
now your position. He is captain, or she is captain and that is it. There's the rule. You're gonna pretend you're a first mate today, aren't you, isn't that what you said? True story. Which is really awesome. And what you wanna do when you're working with a photographer is you wanna set up and say, alright, honey. You may call him honey, I call him honey. How do you want me to talk to you during the set? So what you wanna do is establish some rules, because what's gonna happen is, imagine the retoucher is over here, seeing, oh crap, the hair is in the wrong spot. Or, oh, we're having a really big wardrobe issue. We can't have him look bad to his client. He's the captain of the ship, he's responsible for the whole gig. I can't make him look bad. So we need to establish in advance how do I talk to you and not make you look bad, and make sure that we correct the problem. As many of you, as photographers, know, when you're shooting, look he's responsible for vibe and getting what's needed, and what's the exposure, and my god is the catering truck there, where's the client, is the client happy? How much time is this studio? Oh, we're about to go into overage. He's got so much going on in his mind. Chances are he's not looking, is her hair on the shoulder? Is the hair not on the shoulder? Did I cover that? Did I cover this? Did I cover that? Dare I say it's kinda not your job. Right, yeah. Like you said, exposure, composition, and the emotion that's coming through is what I'm looking for the most. Right. So, can I ask you a question? If you had a retoucher on set, how do you think you would like to be approached to fix something right when you're in the middle of a shoot? I think, for me, I would rather hear about it. Because it is something that, if we can fix it right away, and that's exactly why they're brought onto set, is to look for that thing. So if I'm not looking for it and they see something, I want to make sure that, at least that they would come near me. So that if I'm just wrapping something up or we get to a point where there is a good stop, that, you know, you could step in, or the retoucher could step in and we could fix that just right away and to have that shot, have that coverage. So one of the things that I do with my photographers is I have a shoot list. They have their shoot list, I have my shoot list and they're often different shoot lists. And what I do is before he kills any kind of lighting, 'cause you know when you do a shoot you often have multiple setups you do. When he thinks he's done, we've already made an agreement that he's like, are we cool? And if we're not cool, then we redo it with whatever corrections. But you have to set that up in advance and you have to let them drive the boat. And you have to be willing to have him say, no, we're moving on. That's it, no. And there might be a hundred reasons, you might be noticing the model's getting tired, it's not working, you've got another issue. So you're gonna have to be flexible in this area.
Class Materials
Bonus Materials with Purchase
Bonus Materials
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 then...got 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!
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