Learn How To Color Grade Using Photoshop and Adobe Color
Ready to learn how to color grade your images in a non-destructive, high-end commercial fashion? Retouching master, Sef McCullough, is back for his fourth tutorial with RGG EDU!
Sign up now for additional content, Early Bird Release, and VIP pricing:
This retouching tutorial explores Sef's creative process and workflow for controlling and styling color in an image. Sef demonstrates the techniques used by high-end commercial retouchers to create strong, dynamic images through the use of creative color grading.
Sef first analyzes the existing color within an image, and not just the color visible to our eye. He then contributes a knowledge of color theory along with Adobe Color CC to make calculated decisions on which direction to take color grading to invoke emotion, mood, and tone in an image. Finally Sef executes a number of techniques to craft the desired color in a clean, non-destructive fashion.
Sef works through a variety of examples including lifestyle, product, fitness, landscape and portrait images. This tutorial will give you the tools and techniques needed to execute your vision and bring your images to life. See more: https://hubs.ly/H0c_3h-0
What do you hope to learn from this tutorial? Let us know in the comments below.
Learn How To Create Soft Light and Painterly Portraits
Inspired by master painters of the s17th century, Dutch photographer, Gemmy Woud-Binnendijk crafts her images from concept to final product with great care for every detail and nuance along the way. Using the Chiaroscuro principle and Sfumato techniques, Gemmy uses color and light contrasts to create depth in her images. By layering colors and tones she creates the soft and imperceptible transitions that have helped define her unmistakeable style.
In this tutorial you will see the entire creative process of Gemmy Woud-Binnendijk as she demonstrates the techniques used to create her beautiful painterly images in-studio and in Photoshop.
Studio Photography & Photoshop Tutorial - What You Will Learn
Gemmy walks through how she conceptualizes and finds inspiration for an image. She then works with her trusted stylist and assistant to create a distinct look and style for an image. Once on set, Gemmy sets up and tests studio lighting, meticulously placing and dialing in the desired power and quality of light required for her painterly style. You then see her pose and communicate with her subject, direct her stylist, and work entirely through capturing an image on set.
After an image is captured, Gemmy demonstrates her unique Photoshop workflow to see the final image realized. Throughout the tutorial, you’ll go behind the scenes on two complete photo shoots and their respective retouching processes.
Finally, Gemmy challenges you with a homework assignment to create an image of your own. RAW files, composite elements, a Photoshop action, and final images are all included with the purchase of this tutorial.
An Interview with Community Assignment Winner Janelle Folk
Every other Monday we assign a photography or retouching challenge to members of our private Facebook group The RGG EDU Community. Last week the assignment was to create a single food image using only natural light. After the ten day shoot period, we received 25 great submissions, one of which could not be ignored.
After narrowing down the images to our three favorites, the final decision had to made based on concept and creativity. Janelle Folk's submission became the clear winner. Her concept and creativity were unmatched and beautifully executed. Her image was simple. It had great lines, movement, color, and composition. I caught up with her this week to learn more about the image and how she created it:
Tell us about yourself and your photography.
My name is Janelle Folk and I am from Okeechobee FL. I specialize in wedding photography and videography. I also offer lifestyle portraiture for couples, families, seniors, etc. Photography is so much more to me than a job. If I'm not working you can find me completely submerged in what I’m most passionate about. This usually involves urban exploring, storm chasing, control burns, concerts, etc. This is an area where I can explore using darker tones, and really let go of any guidelines I would usually keep in line for business work.
What brought you to RGG EDU, and which tutorials have you watched?
I am a huge Renee Robyn fan. Her work is so inspiring to me. Composite photography is something very special to me, and an area of my work that I really need to put more time into. When you guys posted about having her on for a new tutorial I immediately bought Composite Portraiture at my first chance.
There was a point in the tutorial where she mentioned how discouraged she was getting in her own work, and even considered quitting. Then she tried a shooting something completely different than what she normally did, and it sparked new life back into her work. After this, I tried the same thing and it really helped me on so many levels to try and look at things with a fresh mind and think out the box from what I would normally do.
Tell us about your image. Does it have a title? What inspired it?
This image was created for a commercial shoot at C&B Farms. Originally, we had planned to photograph the products at the farm, however I really wanted to be in control of every little aspect (the set, lighting, time restraints) so I pitched the idea of building a set instead. I felt for their website having the on-location shots next to set up product shots would be a fantastic contrast, and would set them apart more from their competitors who didn’t take advantage of this.
What did your production look like? How did it all come together?
The production for this shoot was quite involved. I wanted to create everything in the image myself. I went to Home Depot and bought a few boards and paint. I sanded everything and put a few coats of paint on them. I wanted light grey with a faded white look to it. To achieve the faded white I simply added white marks to the wet grey coat and blended them in with long paint strokes.
I wanted one vegetable for the main focus and lots of fresh herbs to fill in the frame. I had no idea where I was going with the composition. I would love to say this was completely planned out, but I just played around with some ideas I had in my head. I wanted to make sure what I was placing around the bowl wasn’t too much of a distraction but an addition to guiding your eye to the main focus. Since I needed a vegetable that was very vibrant, I chose these little baby eggplants pretty much immediately. I was in love with the pink/purple tones it brought to the grey set. I started placing it all onto the scene, and with a good amount of trial and error I thought the placement of the greens would be best to completely fill one side and kind of have the look of leaking out to the other side.
Last, I came across a belt in my home that really caught my eye with color and braided material. I sacrificed it for the good of the image and cut it up just enough to wrap around the bottom of the bunch. Once everything was set up I sprayed a little bit of water on the baby eggplants (just enough to catch shape from the window light) and I was ready to start shooting!
Did you learn anything creating this image?
This was my very first food photography shoot, so I learned many invaluable lessons. I am used to building sets and focusing on details, but this one really took all of my knowledge and challenged me to keep asking myself “what would make this even better?” I am completely blown away that my image was chosen to be featured. As artists it’s difficult to share what we pour our hearts into. Maybe it’s a fear of rejection. This opportunity was a huge boost in confidence to keep chasing projects outside of my comfort zone.
What are you currently working on? What are your goals for 2018?
Between client work I’m working on a huge fashion event with a very challenging theme. I am trying to expand my music portfolio as well. I recently covered the Okeechobee Music Festival. It was one of the most exhilarating feelings I’ve ever had. I would love to follow that feeling and eventually be hired to cover similar events. This shoot for C&B Farms will also change my focus a bit. I will be working on building my product photography portfolio too in pursuit of larger commercial jobs.
Where can we see more of your work?
Instagram (Personal Work)
Vimeo (Video Work)
THE SCIENCE OF COLOR TRAILER
The Science Of Color introduces a comprehensive look at color theory for portrait photographers and the emotional connection that color plays in any image. In an industry as competitive as photography, having these tools in your kit will help you to tell your story through the best imagery you can possibly get.
In this tutorial Kate Woodman breaks down the science of color to it’s simplest form: light. We start in-studio exploring the relationships colors have with our memory, emotion, senses, and the styling choices we make. After completing this tutorial series you will have a much deeper understanding on the practical use of color in your photography and will be able to rely less on LUTs or global adjustments in LR. You will now have the ability to make educated choices in pre-production, styling, shooting, and editing. As soon as you start noticing color in photography and in the world, you can elevate your work to the next level.
Ready to learn color?
Our next tutorial dives into the emotional connection color has with our emotions, senses, and even nostalgia. The Science Of Color looks at the theory, fundamentals, and advanced practices of color use, meaning, and workflow for portraiture storytelling. This is a teaser for the tutorial and we will be releasing sections of the video leading up to our product launch April 24th. Register below for our early bird special.
A Veteran Photographer's Take On The Complete Overhaul of Frequency Separation
Retouching needs a revolution? Yes. Something that makes retouchers and photographers rethink the way images are polished in post production. Something to save time, increase profits and allow for more creativity. Something that is built on the existing tools within Photoshop yet completely changes the way people work.
Let me state straight away that I am not a retoucher. I have been working with Photoshop for 20 years, but I am a photographer first and foremost, with enough knowledge of post production to be dangerous in the right ways. Over my career I have cleaned up some of my own images, but I have always relied on a small army of retouchers to bring my images to life.
So why do I say that retouching needs a revolution? Because it’s about to get one.
"Earth wanted to find a better way to work. One that was faster, far more accurate, and would allow him to spend more time on the creative process of retouching."
Photoshop gets better all the time. Adobe is always tweaking, updating and changing the industry's best post production tool. It has grown to the point where there are probably two hundred ways to execute a singular task depending on your knowledge set and workflow. Despite all the advances, some tasks are laborious, mundane and difficult. Retouchers get bogged down with cleaning and fixing images on the most minute levels that they waste hours of time. And that often takes the joy out of the job.
Earth Oliver is a 20+ year veteran retoucher. His list of clients is ridiculous, he is well connected to developments at Adobe, and he is at the top tier for commercial retouchers. Earth got to the point where cleaning, fixing and polishing images at the ever-changing requests of clients was burning him out in the business. He often passed on jobs that required too much work because his profitability would be diminished. Earth wanted to find a better way to work. One that was faster, far more accurate, and would allow him to spend more time on the creative process of retouching.
After clearing his plate and sitting down with the sole purpose of completely changing his post production workflow, Earth settled on the most misunderstood and misused aspect of Photoshop: Frequency Separation. I know, I know, Frequency Separation is terrible and has a bad reputation. One earned from a history of the process being improperly used by retouchers mainly when working on skin. An image where Frequency Separation has been applied often has visible mistakes leading to falsified looks. Simply put, Frequency Separation has been used the wrong way the entire time it has been employed.
A Retouching Revolution
Earth unlocked the secret to Frequency Separation, from here on known as FS 2.0. By ripping the process apart, Earth found an approach to using FS 2.0 that could quickly fix any problem area. And I mean any area. His method is based on texture. Earth can fix blemishes, gradients, you name it. All while maintaining texture. Texture is the key word here because when texture is diminished in any way, so goes the image and it’s believability.
I will admit it took me a bit of time to really get my head wrapped around this idea. Years of knowledge of Photoshop left me in a place where thinking differently about post production did not come easily. But once I grasped the concept and watched the ease of Earth’s new workflow, I saw clearly the way every retoucher should be working. A technique where you can wipe problem areas away without making yourself crazy and most importantly, without damaging your images.
You probably think I am full of it right now. That I am writing a fluff piece just to get your attention. So I want to challenge you to try this process. Learn about it, put it to use, and try to break FS 2.0. Earth has boldly stated that he has yet to find a way to break FS 2.0. Let’s put it to the test. No matter what kind of images you are working on, I want to know if FS 2.0 fails you in any way. If you learn this process and use it in the right manner, you will shave off hours of retouching time and completely boost your profitability. This should breathe new life into your workflow and allow you to concentrate on the truly creative elements of post production.
Earth has stated that FS 2.0 has saved him as much as 90% of his time in post production. This has greatly increased his profit margins, freed him to take on larger jobs, and allows him to retouch images with much greater accuracy. That sounds like a retouching revolution to me.
Community Assignment Winner: Andre Schneider’s Beautiful Peak Action Image
“Photography is not like painting. There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.”
- Henri Cartier-Bresson
Last week we wrapped up our fourth Community Assignment on Peak Action/The Decisive Moment. Over 20 unique submissions were reviewed and critiqued by the RGG EDU team. Choosing a favorite was unusually difficult for this assignment as every one of the participants had successfully captured their subjects at peak action. To narrow it down, we had to get nit-picky and analyze the finest details.
After scrutinizing over every detail, one image remained absolutely flawless. Andre Schneider’s black and white image of an airborne dancer was the winner. The image was compositionally sound, well-balanced, and beautifully toned. It had great energy and movement, read left to right, and was perfectly timed. Andre not only captured his subject at the apex of form and action, but managed to get beautiful expression as well.
I caught up with Andre this week to find out more about the image and how it was produced:
For those who don’t know you, tell us about yourself and your work.
My name is Andre Schneider. I am a Brazilian photographer living in New York City for the last 18 years. I am mainly a fashion and beauty photographer. I occasionally do portraits too.
What brought you to RGG EDU?
Tell us about your image. Does it have a title? What inspired it?
The image has no title, I always have the worst time finding titles for my images so I just gave up on naming them. Every time I think of a name it always sounds too cheesy, so I’d rather keep them untitled. The inspiration came from numerous images of dancers and fabric movement. I wanted to do something that would stand out and be beautiful to look at.
How did you create the image?
I called a friend of mine, a model and former ballerina, Luda Ols. I explained to her what I wanted to do, and she was very excited to be a part of it. We had a stylist, Rosie Mae, take care of wardrobe and we went to work!
It was my first time shooting a dancer and fabric in movement, so I had no clue if it was going to work or not. I explained to Luda and to Rosie that there was a chance that nothing good would come out of it. With some planning, tweaking of lights, and direction we were able to get lots of stuff that we were all very happy with!
The lighting was done with umbrellas on the background, so the light we are seeing on her is all bounced off the background. I also had two V-flats in front of her to bounce a bit more light onto her.
Did you learn anything creating this image?
Shooting dancers is very, very hard. Getting the timing, pose, and expression right is not easy. It’s difficult to look gorgeous while making sure your form is correct, and if you manage to get both you have to make sure you don’t fall flat on your butt when you come down. There’s a lot to think about in a fraction of a second. It’s very different than shooting fashion.
What are you working on? Do you have any goals for 2018?
I have a number of ongoing projects. Some long term, some short term. I have a few magazine editorials that are being edited now. There are also some just-for-fun shoots that I do with friends/models/etc. It’s fun shooting with no responsibility to get anything in particular and just creating a beautiful image. If I have free time, I’ll shoot anything!
Where can we see more of your work?
Learn How to Clean Up, Mask and Extract Hair with High End Commercial Retoucher, Sef McCullough’s Advanced Photoshop Techniques and Workflows.
You may know Sef McCullough from his first tutorial with RGG EDU Commercial Retouching Workflow. Now he is back with a brand new tutorial: Advanced Hair Retouching. Hair is undoubtedly the most difficult subject to work with, even for top commercial retouchers.
“If you can mask hair you can mask anything.”
In the tutorial Sef breaks down his unique workflows and demystifies the art of cleaning up, masking and extracting hair in Photoshop. Sef works with a variety of hair types, each with a specific challenge. Using advanced workflows and groundbreaking techniques Sef teaches systematic and repeatable methods for tackling the most difficult hair retouching tasks possible.
Here is an overview of what the tutorial offers:
Basic Cleanup of Hair
- Fast and effective workflow for quickly dealing with flyaways
- Why ordinary methods require more time and are often ineffective
- Frequency Separation 2.0 to remove hair from faces
Creating A Natural Edge
- How to create a natural hair edge
- Creating the edge you want instead of working with the edge you have
- Creating custom brushes for hair edges and eyelashes
- Working on images with very low contrast
Working With Textured Hair
- Extracting complex textured or curly hair
- Using creative color grading on hair
The tutorial runs about 5 hours in length with 12 video segments of instructional content. Here is what is included with the tutorial:
- RAW Files to Follow Along
- Sef’s Everyday Photoshop Action Set
- Frequency Separation 2.0 Action
- Destroy Bands Action
- Photoshop Brush Set for Hair
- Closed Captions in English
- iTunes-Ready Videos Optimized for Mobile Viewing
- And More
Our third Community Assignment, Light Painting, yielded 25 unique submissions from our private Facebook group. Among them were images of cars, bicycles, bottles, night skies, city streets, and a light-painted shaman named Sherman.
Of the 25 submissions, one image was so unique and well-executed it simply could not be ignored. Marie-France Millasson’s submission, titled Nature Morte, was the studio favorite at RGG EDU. The image was incredibly unique, styled beautifully, and lit perfectly. Rob was amazed by how well the shape and form of the subjects was brought out giving an almost three-dimensional quality to the image.
We caught up with Marie-France this week to find out more about the image and how it was produced:
Tell us about yourself and your work as a photographer.
My name is Marie-France Millasson and I’m from Switzerland. The French part of Switzerland between Lausanne and Montreux. I mostly do portrait work (corporate portraits) although I’m not specialized in one specific subject. Most often I’m going into businesses with my studio on my back to photograph people.
I started photography when I was 16 years old. I worked for a company doing lab work (film) and selling camera equipment, but I was really only interested in taking pictures! After training I worked as a photographer for about 2 years but stopped because I felt too shy and too young to work by myself. At that time there was no place to work as a photographer in Switzerland.
I went to school to study banking and marketing then worked as a marketing manager in banks for many years. During this time I also organized exhibitions for artists. One exhibition was with a passionate animal photographer. I realized I was bored with my job and wanted to get back into photography. I bought a Nikon D800 and started taking pictures again. Five years ago a friend who owns an event company began hiring me to photograph events. I started photographing more and working my job less, and finally decided to quit my job and be my own boss as a photographer two years ago.
What RGG EDU tutorials have you watched?
Beverage Photography & Retouching with Rob Grimm, Editorial Food Photography & Retouching With Rob Grimm, Beer Photography & Retouching With Rob Grimm, Retouching Beauty Portraits with Pratik Naik, Dramatic Portraiture & Lighting With Chris Knight.
Tell us about your image. Does it have a title? What inspired it?
The title is RGG EDU Light Painting: Nature Morte. I wanted a little feminine subject so I used these objects that I have in my studio. I didn’t want to photograph a car, I didn’t know how to do that! I loved the red shoe I had used at the time of the first community assignment.
How did you create the image?
I arranged the objects to have a harmonious composition. I worked with my Nikon D800, 85mm at F9 ISO 100 and Bulb.
I started with Lightroom and finished the image in Photoshop. I used more than 35 layers to composite the image. I shot about 70 photos total.
For lighting I used two different sources. One was a Viltrox L116T and the other was flashlight (Olight S10R Baton II) with a special tip/diffuser that I bought from Harold Ross, a fine art photographer!
Before this assignment had you done any light painting?
Yes! Last year I went on a trip to the USA for 3 days to take private lessons with Harold Ross on light painting. I haven't had an opportunity to make a photo since the first community assignment! I realize that I have a lot of work to achieve the quality of his photos.
What are you currently working on? What are your goals for 2018?
I have several personal projects. I am currently doing couples pictures. The theme is “Qui se ressemble s’assemble. Maybe in English is "Who Looks Alike.” I take pictures of couples and mix parts of their faces. This creates very unique faces.
Another project is Secrets. I tried to photograph political refugees, journalists, or other people who have had to leave their country, but all the people refused to show themselves! I still kept this subject but I work on lighter secrets, For this theme I make a portrait and I replace the mouth with the navel. We can not speak but we feel everything in his belly!
My goals are to be able to work with a new communication agency later this year.
Sony FS5 Footage Is Noisy. Here’s Why:
We use a Sony FS5 to shoot slow motion b-roll for our tutorials. We shoot in 2K at 120 FPS, usually on a DJI Ronin or jib. The footage looks great, but high noise was adding time and steps to our post production workflow. I did some research and found a solution.
The native ISO for the Sony FS5 is 3200!
Crazy, right? Don’t worry, I found a solution to reduce noise and clean up the FS5 footage. Here’s what to do:
Sony FS5 Noise Reduction
- Do a firmware update to get PP10, an HDR picture profile
- Go to Menu > Camera/Paint (Camera Icon) > Picture Profile
- Select PP10
- Ok and Settings options will appear. Go to Settings
- Change the Gamma option to S-LOG3*
*S-LOG3 will allow you to reduce the ISO to 2000 and clean up grain and noise substantially.
This was the immediate solution we needed for our use of the Sony FS5. Hopefully this quick fix helps your workflow as well. Check back with our blog to get more insight, tips and tricks!
I’m Seth, a cinematographer at RGG EDU. I will be contributing to the RGG EDU blog by providing insight and advice on problems and solutions we encounter with video equipment and technology at our studio. I will do occasional gear reviews and comparisons as well. In our industry time = money, so my goal is to streamline information and cut to the chase with whatever answers and solutions you may be looking for. Feel free to contact to leave comments below if you have any questions!
Adobe Announces Launch of Lightroom Classic CC v7.2, Promising A Performance Speed Upgrade Among Other New Features
It looks like Lightroom is finally getting the speed boost we’ve all been waiting for. Last year Adobe admitted to Lightroom’s sluggish performance and promised major performance updates for 2018. Now Adobe has announced the launch Lightroom Classic CC 7.2, an update offering performance improvements for users with a multi-core CPU and at least 12 GB of RAM.
Improvements in the update will pertain to batch processes rather than overall responsiveness and individual tool performance. Users should see improvements in:
- Importing and Exporting
- Preview Generation
- Moving Between Photos Loupe View
- Rendering Adjustments in Develop
- HDR and Panorama Stitching
Adobe has also addressed two other major issues with Lightroom performance—a gradual decline in speed over time and the inability to counter the sluggishness with upgraded hardware. From Adobe:
"One key attribute of the enhancements is that they scale appropriately with a customer’s investment in hardware. A common complaint in the past was that a large investment in a new system did not provide equivalent improvements in Lightroom performance. Lightroom 7.2 is an important step forward in addressing that issue, particularly for computers with at least 12 GB of memory.”
As for new features, here is what Classic CC 7.2 offers:
- Folder Search
- Filter Favorites Within Folders
- Instantly Create Collections From Folders
- Create Collections From A Pin In The Map Module
- New Library Filter For Edited/Unedited Images
- Create Smart Collections With Edited/Unedited Images
Learn more about the Classic CC 7.2 update from Adobe here
Learn Lightroom Workflow and Processing with Chris Knight
Last week we wrapped up our second and very unique RGG EDU Community Assignment. The assignment was to retouch a RAW file provided to our Facebook group by RGG EDU instructor, Dani Diamond.
We were overwhelmed with over 100 submissions, each with a unique style and approach to the image. We narrowed submissions down to our favorite 15 and left the final decision up to Dani Diamond himself. Dani replied,
"I like Rizz Raza's edit the most. The dodge and burn and frequency separation is flawless and natural. There's great detail left in the skin and the toning is natural and pleasing to look at. I also like the slight crop."
To stand out in a pool of over 100 submissions and be chosen by Dani himself was a major feat. We caught up with Rizz Raza to learn more about his submission:
Tell us about yourself and the work you do. Are you primarily a photographer, retoucher, or both?
My name is Muhammad Raza and I'm from Melbourne Australia. I'm primarily a photographer who loves retouching. In the past couple of years I've invested a lot of time improving my retouching workflow to take my photography to next level. Since I've come across RGG EDU tutorials, I've explored different genres of photography, fashion, portraits and also a bit of fitness. But I've been primarily focusing on fashion photography, however I also shoot weddings and documentaries on the side.
How long have you been photographing/retouching?
I started back in 2006 as a photo retoucher in a photo lab in a small city of Pakistan, my hometown Quetta. For almost two years I colorized black and white photos before I started composites and designing wedding albums which eventually led me to shooting weddings. After moving to Australia in 2009, I started exploring new learning resources and genres of photography which grew my interest in fashion photography.
What brought you to RGG EDU and which tutorials have you watched?
I came across RGG EDU tutorials while attending a Peter Coulson workshop in 2015. So I started with Peter’s Black and White Photography, then Natural Light Portraiture & Retouching With Dani Diamond. Commercial Retouching Workflow with Sef McCullough is next on my list to purchase.
Talk us through retouching this image. What was your vision? What was the process? What did your workflow look like?
I wanted to keep the edit as natural looking as possible, especially on the skin. Since the model had freckles I wanted to preserve that aesthetic. I also wanted to achieve the slightly tanned skin tone that Dani typically has in his images.
I started off in Lightroom by slightly adjusting the whites and blacks and then moved to Photoshop. After removing blemishes and hair from her face, I followed Peter Coulson's editing workflow for dodge & burn and sculpting the face. I then used Dani Diamond's workflow to color grade the image. I finished with Jake Hicks’ technique of enhancing the highlights and sharpening the overall image which works very well for most of my edits.
What does your workstation look like?
I edit on a 15" MacBook Pro with a medium-size Wacom Pro tablet. For this image I used Adobe Lightroom and Photoshop CC.
Did you learn anything new working on this image?
Retouching Dani's image taught me to have a clear vision of the final edit before clicking the shutter. Often I'm distracted by the direction of light, background, etc. while shooting. Keeping it simple and natural during a shoot and retouching is what I learned from retouching this image.
What are you currently working on? What are your goals for 2018?
After 9 years away, I will be traveling to my home country of Pakistan next month. I'm planning a few workshops to teach photography and retouching basics to those back home not fortunate enough to have access to the learning resources and contents we have in Australia.
I will also be working on a project photographing people from my community in a series of portraits to tell their stories and the isolation they live in. My goal is to establish myself as a professional fashion and portrait photographer by the end of this year.
Where can we see more of your work?
A Free Photography Tutorial? Beer?!
We just released our latest and first ever free full-length tutorial, Beer Photography & Retouching with Rob Grimm. While shooting Rob’s previous tutorial on beverage photography, we realized beer had so many distinct qualities we needed to separate the two subjects. We decided to offer the beer tutorial for free as a thank you to our loyal and ever-growing RGG EDU community.
The tutorial is taught by RGG EDU co-founder, Rob Grimm, a near 30-year veteran of commercial food and beverage photography. The renowned “Shakespeare of Beer” has a load of industry experience working with brands, clients, liquids and light. Rob has a genuine knack for teaching and communicating in a transparent and easy-to-comprehend style. Viewers will get the true experience of working with Rob on set and see an unscripted, unrehearsed, behind-the-scenes look at his creative workflow from start to finish.
The tutorial offers great value for beverage and non-beverage shooters alike. Viewers can expect to learn things specific to beer photography like how to prepare bottles, style refreshment cues, use a beer pump, and shoot a beer pour. The tutorial also offers a great amount of insight relevant to any photographer like shooting with polarizers, using studio lights and modifiers, shooting on a white background, and how to develop a concept and successfully execute a client’s brand message.
The tutorial runs over 8 hours in length with 25 chapters of instructional content. Included are 4 full photo shoots, an in-depth look at Rob’s beer toolkit, 27 RAW files, and a full post-production workflow with high-end commercial retoucher, Earth Oliver.
DOWNLOAD THE FULL TUTORIAL
Earlier this month we launched the first ever RGG EDU Community Assignment in our private Facebook group. The assignment was to create a conceptual beverage image based on three randomly drawn narrative elements (a person, a cocktail, and a place). We received 17 great submissions, making it very difficult to choose a favorite image.
We finally decided on Edward Boe’s image of a rockstar drinking an old fashioned in a private eye’s office. Edward’s image was well-composed, had great mood and color, and a load of technical merit. Ultimately, the difference maker with Ed’s image was how well his unique concept was executed.
We caught up with Edward this week to ask him a few questions about his assignment submission:
RGG: You’ve been an active member in the community for a couple years now, but for anyone who doesn’t know you, tell us about yourself and your work.
EB: I’m from Chicago, IL (USA). I’m primarily a food/beverage and product photographer, however I do a fair bit of real estate and corporate photography and video as well as the odd headshot when needed.
RGG: What brought you to RGG EDU and what tutorials have you watched?
EB: I started with Rob's Editorial Food Photography and expanded to Tony Roslund's Product Photography, Erik Almas' Composite Photography, Sef McCullough's Commercial Retouching, and Rob's Beverage Tutorials. I also have the Jake Hicks Colored Gel Portraits Tutorial, though I haven't started it yet.
RGG: Tell us about your image. How did you build your concept?
EB: This particular image, which I've been calling Punk Rock P. I. (PRPI), was conceived entirely for this assignment, but a lot of what I create in my personal work are things pulled from decades watching, critiquing, and creating film and video work. PRPI stems specifically from sources like Blade Runner 2049, The Third Man, Brick, Jessica Jones, and other film noir stuff in general.
After drawing three variables from their respective hats, I went around to second hand shops, thrift stores, and salvage shops without much luck. The last place I visited happened to have a large table leaf that worked well for the desk surface, an era appropriate ashtray, and a full set of actual 60s era crime scene photos from the Chicago PD. Score! I pulled some old fashioned glasses I have in my collection, as well as a purchased bottle of Southern Comfort and the lamp I have on my desk. My wife supplied the dark jeans, and the combat boots of the “Rockstar.”
RGG: You definitely built an awesome concept. How did you execute it?
EB: Lighting-wise, I used a Profoto D1 with a 7" reflector w/ polarization over the top of the hero drink. I used another Profoto D2 with a 7" reflector w/o polarization from the back left of the scene shooting toward camera to act as the practical lamp light and separate the incense smoke and edging for the bottle and second glass. I also used two speed lights- one in a homemade snoot to light the wall on the back right side separating the legs a bit, and the other hitting the boots of our rockstar. Add in a few white reflector boards and gold cards to illuminate the liquids, and I ended up with 11 different exposures that went into the final version.
RGG: Did you learn anything new working on this image?
EB: The biggest takeaway from this image was that I need to slow down and take my time. I ended up shooting this setup twice. At first I was moving too quickly trying to pull everything together. I wasn’t double checking critical focus, making sure the hero glass was spotless, or thinking to add condensation to the glass. I was pretty unhappy with the final result, so I did everything again. The composition during the second shoot was much more appealing, gave the scene more depth, and ultimately more atmosphere.
RGG: What are you currently working on? What are your goals for 2018?
EB: Last year I took on a 365 project, which was great. However I found that even though I was putting out content every day, I was sacrificing quality for the sake of quantity. This year I am going for one project a week. I've written out a list of projects that will improve my skill set, my portfolio, or both. I'll be doing everything from food/beverage work in studio and on location, post processing/compositing heavy work, even cinemagraphs. It's going to be a busy year.
You can see more of Edward’s work on his website, www.edwardboe.com, on Instagram @edwardboephotography, and of course in the RGG EDU Facebook Community. If you have purchased a tutorial but haven't joined our private Facebook group, now is a great time to get in on our bi-weekly community assignments.
THE CYBER MONDAY OFFER
Save 50% on all of your favorite tutorials today. As a special gift, get Photoshop 101 and Lightroom Workflow FREE with any tutorial purchase. Simply add both tutorials to your cart, and use code CMFREE at checkout.
Our Biggest Sale Of 2017
Don't miss out on the biggest sale of 2017. We are offering an extremely limited sale on tutorials, especially when you bundle. Sale ends this week.
Meet Chris Knight
We Are Releasing 2 New Tutorials June 29th
The Dramatic Portraiture, Lighting & Retouching w/ Chris Knight
On June 29th we are releasing our newest photography & post-production course on Dramatic Portraiture & Retouching with Chris Knight. We’ve spent 7 months creating this 16-hour tutorial series that explores dramatic lighting, character development, posing, styling, and retouching. Essential for anyone creating portraits!
In addition to this tutorial above, we’ve created a SECOND Lightroom Workflow & Processing tutorial with Chris that we will be giving away for FREE with the purchase of the Dramatic Portrait seen above. For the first two weeks, this $129 tutorial will come for free for everyone who purchases the tutorial above. This is the perfect tutorial that explores workflow, management, and image processing to get your most of of your images. If you’re looking to maximize your potential in Lightroom then look no further. Here is a first look at the Master Trailer for Adobe Lightroom w/ Chris Knight:
Adobe Lightroom Workflow and Image Processing w/ Chris Knight
Get A Free Copy Of Chris' Newly Published Book in Hardback or Digital
Also, maybe because we are crazy, everyone that purchases the Dramatic Portraiture & Lighting will receive a free Paperback or Digital Copy of Chris’ newly released 100 page book “The Art Of The Dramatic Portrait,” a $25 VALUE*.
*Each individual will be provided a redemption code that they can use to redeem a copy of the digital or hardback version.
Commercial Retouching Workflow Now Available
Today we launch what we are calling our most advanced retouching tutorial to date. We partnered with a senior digital artist at a major global retouching firm serving the biggest brands. Together with Sef, we created a workflow system that can be applied to both products, fabric, or even people, to give you an airtight system that saves hours and creates high-end retouching results. We are even introducing a new level of Frequency Separation 2.0 that is truly groundbreaking from the traditional method most are accustomed to. This was developed by a small community of artists in Oregon and is now included in this tutorial along with the RAWs, workflow PDFs, and step-by-step instructions to perfect your workflow. Are you ready for the challenge?
If you are looking to advance your knowledge and take your Photoshop skills to an entirely different planet, then this tutorial is perfect for your arsenal of knowledge and bag of PS tools.