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How to Be a Commercial Photographer

Lesson 34 of 34

Retouching Beer Ad: Flares

Rob Grimm, Gary Martin, Aaron Nace

How to Be a Commercial Photographer

Rob Grimm, Gary Martin, Aaron Nace

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Lesson Info

34. Retouching Beer Ad: Flares

Lesson Info

Retouching Beer Ad: Flares

I'm gonna take care of a couple hue shifts, posing extra looking purple. They're looking a bit on the purple side. So I'm just gonna take my hue saturation, pull that off toe left a little bit. And then again, I'm gonna grab my brush tool and, uh, paint white right there on the stops. And this one of the reasons I really love using adjustment layers. I need to make sure that this if I am, in effect, both my left bottle and my right bottle I need to make sure that this hue saturation layer is above both bottles. Like if this were further down underneath this right bottle, it will be affecting. We would only be affecting one of the bottles. So I just need to make sure And if it's not all, just pop it up a couple of layers. Um, but in this case, it's OK, Bacon. I kind of see the changes that are making their and just doing a relatively raw from ask on these things. I would say in the beginning, when I was first learning photo shop, I really got bogged down and getting perfect masks and al...

l this stuff and I was so technically good at photo shop, but my images lacked depth and feeling. Now I mean my master Messier, than probably half a year's. But it doesn't matter. It sounds weird to say, but just doesn't really matter that much. Um, it's a lot more about, you know, like my color accuracy is better than most of yours because I pay attention to that. I don't get bogged down in the masks. So how's that looking up top there? Much better. Much better. Do you want that darker up there later? No, I wouldn't go any dark out there. I mean, it should. Naturally, it's gonna get a little bit lighter because the glass is thinner and it also it's empty up there. Once you get past the platinum label, there's no liquid. There's no liquid level is behind the necklace label. Always like they make it that way. They do it very good. Why did they do that? Why did they do that? Seeing that line isn't always visually just the best. So it goes up, it disappears and your eye doesn't think about it. If you see the line than you, Constance, their beer goes forever Well, yeah. You're conscious of the fact that it doesn't go on forever. And who wants their beard end? The only ones they're very nobody wants their beauty. A man. All right, Gary. Kicking in the gear here. Miscue. Where you been for the last 20 minutes? That eight. And corn nuts and shooting ammo. Trying to get my musk closer. Two years. Man, that's a T shirt, corn nuts, enamel getting here, That man musk. All right, there we go. I think we're looking very loose. Relit, relit. That's like, You know, I gotta tell you, the client's gonna be really happy. It's looking pretty lid on top. It's just geographically would. Let's take a look at this witness. All right, See, there's a lot that we did right now. There's a whole lot when I was being almost no attention to it. So there's E C. It's words in action. Here we go. Let's, uh, it's kind of bring us up here. There we go. So we'll see. There's a before how I am. I am Bam! There's the after. Not bad. Now we're getting there. We're getting there. Okay. Where? We'd like to see it go next we want to exploit the watchman Digger the flare, and we want to get those other flares in there too. Okay? And then we can assess what it looks like. That sounds great. So let's go ahead and look at some of these flares that have just gorgeous. Just may think he's gorgeous. I'm gonna pop a black layer mask on them and then we're gonna change these blending modes to screen, which is gonna lighten things up. You'll notice sometimes that when this happens, some of your backgrounds gonna kind of come in there because there's a little Grady int on it. Yeah, there's some great aunt in there and this is not pure black. You can take care of this in a number of ways. The easiest way in the most destructive way is just to run a levels adjustment. There are levels like directly on the layer itself. If you're relatively confident in your adjustments, just hit OK and that will apply to that layer forever. If you don't want to do that, what you could do is grab a levels adjustment layer and clip it. There we go. And then now that levels adjustment layer is applied there. But let's say later you decide that maybe you you didn't do it exactly right. Instead of being applied layer layer permanently, it's just it's just clips. So you could kind of, like, go in there, finesse with it later. Technically, this is a much better way to do things. Sometimes it just not necessary. So it totally depends on how confident you are with your with your levels and with picking that sores. And it's going to cool. We could make a custom brush out of this really easily custom. Oh, we're going to the o use my way. Well, but I really wanted so mad skill in honey I'm gonna do it is going to get I want to show you them both how to do these things. All right, so there we go. Uh oh. I just made a new document, murders everything together and took away the saturation. And now we got a black thing there, and it looks like that. All right, on a new document on. Then we're gonna go toe edit and then down toe, define brush elite preset or in name that flare. And now we're gonna go back to this on a new layer. I'm gonna grab my brush tool, and I'm gonna go down to the bottom. Look at this. I paint with white, but I am. Let's bring this back 200%. Well, now I'm pissed off, but they all look exactly the same. Well, they won't in a second mine. Bring it some angle. Jitter on their angle. Geo way, way back Madness Smooth beer bubbles. Yes, it's Christmas time. Once again. Oh, yes. I would totally go for this. Yeah, they love this kind of totally over this. Look at this. It's like foam star Ugo, you have unicorns shooting out of the way. Oh, yes. Okay. They're all Really? Yeah. Save that. I have a copy. Just like put it up above your bed. Totally helping sports Illustrated just to bring just to bring the people online into this experience. Alison says I have cramps from laughing. E T. Cam says best creative workshop ever. And being photography says I can street see through my tears. Status is I actually don't hate this very small part of me that really likes this aim from Israel. Says they're hanging around here for way too long way. Wonderful. It's snowing, snowing flare. Yeah, it's gonna be one Jos. Louis, I think in minutes there's no end to the flair that I can at home with Lord. All right? Just going back like a layer brush we can actually included Can weigh flare brush in the down low value added download value added Impress your friends with your flair Brush. All right, so we got a little flare up there. Let's go ahead and there's a right side floor coming back in that I want to their right side players coming back. It's gonna happen. Gotta happen. The other thing that you can do with these flares is you can change the blending mode on from normal down to screen. Oh, look at that. See, E, I don't know if I could have reiterated that one. That's that's impressive. There we go. So we're gonna pop that in there. Here on the later I'm gonna hit command l to bring up our levels were just gonna, like, darken it up a little bit. This little guy's got interesting, and I don't know what we're gonna end up doing that, but make it go away. Just you wanted to go away. I don't know Right now, it's kind of interrupting. But when that other flare comes back in, maybe it fits, you know? Yeah. And maybe we can put it on a place to where it gets, like, kind of covered up already, so we don't have toe get it away. That's another trick that I like to do. Put it on another piece so we don't have to get away that way. Repeated back when repeated. All right, so here's what I meant is like this thing could go, like right there. No new cannot go right on top of their product. And I have absolutely hate it. Okay, Absolutely. Without question. All right. So, everybody, it's I didn't want t o. All right. Where is this? What is that? Even Was this one for that? It was for the platinum neck label. So we have that north. Or is it? We don't need to. Uh, so let's go ahead and put some of these guys in here. Where would you Where would you like him? It's your game. I think it probably I probably want five. I like that one of those bigger ones to that thing was kind of cool as a came ended in the middle. Big one there. That guy there? Yeah, that's a big one. Massive. Where do you want? I feel awful that Yeah, go there to the right. Yeah. Perfect. Okay, now it's basically layer masking these out, and we're kind of cutting into the haze here a little bit. So what we want to do is just reduce the haze a little bit, so it doesn't become as a parent, and you can reduce raise pretty easily like that. And then if we wanted an ad, hes back. You could do that as well. Let's maybe just do three of them and then get that other main flare that was coming right into the camera from the rights. I get that in there and see what that looks like. Okay. Perfect. I'm just gonna, like, kind of cut that little arm. All right, You're gonna paint it back in? Yep. And then what we're gonna do is I'm gonna hit command J on this. It's gonna duplicate it. Hit command t to transform it and then pop another one in that I am. Here we go. I want. I'll just painted in from the other side there, So, um, because they're, you know, they're stars like that. Um nice. Yeah. And then this haze again, I just crab again, the brush toe paint, a little bit more hazing there if we want to do that. Kind of even that out where I had the clone stamp that. Yeah, well, there's a posting about those other pieces. Yeah, we will. All right, um, right side fly to do that, which is the right. Give me one second. We just pop this guy out here. Um, so I'm just using the brush with paint over that I don't even know what you're saying. Just all the stars. I'm just realizing stars cascading e. I think I like it. Uh, that's right. So we want to add this back. Have this back in here. Yeah, absolutely. That that in fact, push it, push it up? Yeah, that I'm talking about the flare coming in from the right side. This I want you to push that. Get that, pop it more popping. Would you like blocking? Also Just wait. What do you mean by pop? I wanted to have greater contrast I want to be more prevalent. Yes, it is. That makes sense. You wanted to be brighter, More color. Uh uh. It's officially gotten to that point in the day where we just were just dumb now, okay? Yeah. And we can do this Kind of like the blending and things like that with you Want even more contrast? You want some color at its that as well, Or that's not a little bit of it's already got some blue in there. Let's just pump that up. Just a tiny anymore. Oh, hell, no. Oh, God. Oh, yeah. Hill, Uh, tendency. Lose our minds. Everyone's oil. There's no question. Oh, sometimes I'll make a shape like that and then just give it a blur. It looks when it's got a little bit of it's gonna look less like it was just done in Photoshopped because it has all that variation in it. That's that. Loose artists at work. That's nice. It's a part of it. Um all right. This guy here. Oh, you like this one? No, I thought we had our 30 already had two of them executed. That one? Yeah, in that one room that right there, like this? Yeah, we can put him where everyone? Uh, Yeah, We'll take it. No, that up into the left. A little bit. A little bit lower. Not to the right. Ever so slightly. Boat done. Yeah, okay on. We'll get rid of these things, get realist three dots and then we've got something we could show the creative directors. Perfect. This is close to final. It won't be final final, you know, I mean, we're gonna have to send it out and get approval and come back and take a look at it. We'll see what they say, but I think this is looking pretty good. Can I do a little bit of color work here? Do anything you want, man. Just only should Don't make 48. Just like you. Don't put the Milky Way over the product. No more spell, bud. Light out of stars. I think you have the capability to do it. Yes, you can do it. Should you do it? That's a whole nother question. The should thing is couldn't. Should are two different things. Very different. Yes. I have a question from Phoenix West who said as an art director the fact that you're putting flare on the image. I would often need that space above the image to put text. Do you supply a clean background as well? We cant. It all depends on the client request. Yes, if the agency wants it will absolutely do that. No question. All right, so we forgot about double space down there. Look at you. Well, we being you in this case? Yes, yes. Weaving me. So just kind of darkening this up a little bit. I thought a great it might look good, but never really, never really can tell. It's gonna be way even up in dark in them. Yeah, At this point, I think I'm just gonna grab a brush. Tools. No worries. Just kind of go for it down here. I know. I was gonna say we're all getting quiet again. People were wondering what happened to the he Beaky bottle. What happened in terms of drink wear that thing at lunch? You wouldn't know it, but I actually don't drink any alcohol just naturally. Naturally, this stupid It's amazing. All right. I'm just copping a little bit because when we auto aligned all the layers, that kind of david a little bit of that. Yeah. All right. We're almost I'm gonna added, like, a little bit of been yet. Pop these colors a little bit more. And what do you do? Color was like, What was it? What was your thought? You have a thought? Yeah, I just really want to, like, really pushed the amber, especially along centers. It's just something that tends to add to, um, liquids and things like that's just, like, kind of putting, like a kind of like we did this center glow within the bud lights there. Excuse me? Um, just kind of, like, really pushed this amber right here in the center of these things. And here we go. I'm just gonna grab like a There we go. Something like this political lasso tool kind of pop that in there, hold down shift so we can get this guy in there as well. And this is a test. At this point. It's like I don't know if this is gonna look good or not. Either way, it doesn't really matter because the majority of the images kind of done, and then we'll put a little bit of a blower on there just to give it a little bit of a center, and then sometimes it's nice to do the opposite right around the edges. Um, and this is the point in which, like, you know, that that freedom really is nice to just kind of go and do something that carries you away. Um, mentally, just edit that part out. Just pretend I did not say that. All right. And then we're gonna go up in here. The RGB. Yeah, that's pretty nice up a little bit of red. This is the stuff that whether whether you guys know what or not, this is the reason why you hire me. It's because I'll do this sort of stuff like beyond what you asked me to. And it just kind of like, gives it a little bit of like, just it just makes it sexy. I don't know. Just office it up, you know? You know, when you were you for a second. When you when you say, just make it sexy. This is what I do. Pretty sure it's the corn nuts and ammo. It's corn nuts. And ask musk. I got quite the mosque. You guys can't smell it there on the Internet. but you get close to me or I'll vouch for it is quite the musk. Then we're just gonna pop like a little bit of a curves adjustment layer popping this down a little bit. And, um, there you go a little bit of nice. Natural then Yet all right, on down. I'm gonna play with my black levels here on those, uh, caps. So this, in my opinion, is like most fun time and Photoshopped because you're kind already done the majority of your work, you're just kind of letting letting yourself be a little bit creative. You pushing it those final steps when I like him and I could do with the beer without question And you can always you know, you can always take it. Take it back a notch on Ben here. It's also kind of fun. So we've got red, we've got blue and kind of yellow. And then I like to play with complementary colors and nice triad is, you know, pops of red in there. So this would be where I would blue right always go together, blue and reds. Great together. And if you can add some red in there, it's even better. So this is where I would just, like, try to take some liberty to add, like a tiny bit of red. Um, and see, just see if it works. You know, it might not, but if you can add that little bit of red in there, um especially like like that actually has, like, a little bit of I like that. So it just kind of warms it up a little bit, you know? Yeah. We'll see if we can. And the other thing we talked about at the very end was straightening bottles. Just wanna make sure. Oh, yeah. Cool. Do that. So we can see this is like playing around time guys. But look at the before and after with that, just like pops it out. You know, you're looking at the product there. Everything is nice and rounded, and it's just got that really dig it. I really like what you did with the interiors of the pretty crazy beer pours Good. There we go. Nice. So we'll just And if you don't like, you know, it's all in one group. It's just colors. So you can just lower the a passage e That entire group a little bit if you wanted to. Just kind of, like, make it not punch as hard, which probably the client would need The client would need that. Yeah, it's get It would be great for our reproduction purposes, but for theirs, it would be too much pundits too much. Yeah. Okay, so here at the end, we're looking at our We're looking at taking this in kind of I'm trying to figure out how we might straighten everything out, because there there are a lot of good ways to do this. We just go ahead and pop this into our liquefy tool and, uh, liquefied toe. My big suggestion when you're using this tool is used a much bigger brush than you think. You need to, um, like a few. It'll look a lot more natural. Larger brush you use. So use the largest brush, impossibly eggs, if you Exactly. So I'm I'm straining my beer up. But you could see my brushes. Huge. I'm just like I'm barely barely touching. All right, This is not easy, by the way. I make it look easy, but it ain't. It's hard to make it look easy here. Let's forget all right. And the other thing is, you can do this layer by layer. So, like that in this case, all right. Said I was focused on the right side bottle. You could see, like, I think it's kind of fix it up, but it messed my beer up a little bit so I can put a layer mask on their paint, black on there, and then paint white on the layer mask. What was going on? Who did that? What? What? What happened? What happened? Oh, my what? My lens. Ugo. No, really. Let me show you how to do that again, because apparently it just didn't happen that funny. All right? And this is just about, like, kind of taking a look, seeing what's going on. All right, So and you can take care of this, like, one one little segment at a time, and I would really recommend taking your time. I'm doing this a little bit too fast, to be honest, but, um, we're doing all right. How's that look? Better. Better, huh? All right, So see the before in the after with that. And if you don't like what it sends your glass, then you can put a layer mask on there and just paid it. You just painted black on your layer mask. And you're good to go because you made a stamp visible layer before you liquefied. Well, I did that. You should do that. Uh, I'll be Dr Phil. You be Jerry Springer. Clif Bar. Can we ask the final question to as well? Yeah. You have something? Yeah. This could be for Pat, but you might. Noah's well, where will be we see these photos? Will they be on Billboards magazine? That's that's up to clients on how we negotiated this deal. So we'll see. We'll see how they're gonna use him more than I don't think they're gonna be outdoor. More than likely they will be. Although, hubby, he stands a very good chance for being outdoor. Um, I think you You wind up cinnamon print

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.