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DIY Fashion and Editorial Photography

Lesson 30 of 31

Post Processing: Fashion

Amanda Diaz

DIY Fashion and Editorial Photography

Amanda Diaz

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Lesson Info

30. Post Processing: Fashion

Lesson Info

Post Processing: Fashion

We're going to just do one more at it real quick before we finish off and it will be the fashion at it and I've narrowed them down to these ones I think I haven't done a full body everything I've worked on has been portrait er close up and so I will think I'm just going to de select these and I'm just trying to decide which one to use here so I'll probably picked this guy we see her yeah I'll pick this one okay so I'm just gonna go and open it up into photo shop here take this down okay? So in that light room here if I let me just go back I'm sorry hold on hear this I might want to try some presets on here because uh again this is just a straight fashion image and there's not a lot of too much like details I'm not going to really be adding textures anything like that so sometimes with these kind of like ok, so what? When I'm doing fashion images like this, I will usually imply presets because I have to keep that consistency when a gore the consistency and your image is after I'm done t...

his edit but here soul I'm just going to play around and just figure out, you know, maybe this one I don't know these air all of the ones that I've created there on my store something that will really bring the read out is what I'm looking for I don't want to lose my red color tones so called paco that's prince charming this is actually I have a snow white version for lighter uma's well, I had to make another one just in case I wanted to apply snow wait, but that was snow white I want to keep the tones cool so I'm just looking through these guys like I said, I don't always know exactly what I want to do I really like the blue tent one too, but we just hurry up and pick when I'll go with bluebell and then I'll open it now you can see here what didn't apply it what happened? Okay, make sure it's a little too grainy on her there that preset actually has a green applied to it and I don't mind it I'm going to leave the grain on there so now that's been applied it's pretty much taking care of half of my editing work and I'm going to just crop and adjust a little bit of the composition so sorry gimme one here and fixed ratio on the height is at eleven I'm sorry hide it is eleven with as it eat just so I get the proper composition there what's going on with this thing try this again I'm just trying to get the proper cut here I think that's probably good crop it out so that we only get the background and I will start with see with this here um I don't know what? Let me try this one more time sorry. Hold on here. I don't like that noise it's a little too strong so let me just go back in and adjust that fix it a little bit, clear it out just find it a little bit too strong here. Good. Okay, try this again here. Can we try this again? So I had to kind of start over there. I want to get rid of the darkness around the corners and stuff, so I'm just going to cross that out. And now this is like I said with the fashion image, a lot of this has to do with the entire image, so from head to toe I have to be concerned with that. So I'm going to, um if they all start down here on her legs the like I had mentioned earlier this is a little trick that I do eventually you guys yet it's just a way to get rid of the readiness and patches on her skin. Normally I will photoshopped some of the blotches when this is like such a common thing with models they're cold or they're very fair in light skin and then they you know that a lot of readiness will come through and makeup artist aren't putting makeup all over their body usually so that ends up being on the photo story set a new layer it's creating a new layer here and I will just clone over talk this it does not matter I don't care about skin texture here because it's it's a whole image it's a whole like it's the entire body and it's not a lot of detail that I have to worry about on top of skin so I end up just just clone out some of that to smooth it my capacity is not very strong I'll bring it up a little bit maybe too about seventy percent okay and the kneecaps is another thing that kind of drives me a little bonkers sometimes so I don't like the shadows and they're all will just uh clone over that a little tiny bit a swell you could airbrush this too if you wanted but I'm doing it this way it works for me and it's it doesn't really hurt the image so now I have smooth out the skin on her knee a little bit just that little bit of a difference another thing you can do after that is I will take my lasso tool and I will trace all around that part of the skin and it's a bit sloppy it doesn't matter like that I will go to select five feather maybe twelve I'm always like just randomly guessing home email anyway on dh then I hit control j okay so I fathered it I chills twelve and I hit control j now next that will create a new layer of just that like just like I did with the eye so there's just a patch of her leg and is very um blurred out so there's no sharp lines and it won't really be hard to um edit that now because it's just I'm just trying to smooth out the legs so then I go to filter blur this is where I choose surface blur because I'm editing the surface of her skin I wanted to stay within I don't want it too strong I just want a little bit so even that is a little bit too strong here they bring it right up just called to see if it's going to change takes a minute to change her sorry hold on any questions for me? Because sarti sitting her stock wait here we go yeah you are quoting prices to a client if they hire you it is your retouching included is it extra if they want extra retouching do you have ever clients say just take the pictures I have someone else to retouch them and are you okay with that? Yes lots of questions I yeah okay so retouching is included when I'm working with anyone that's part of it the whole price I don't break it down for them because a lot of times people are like oh don't add it oh it's okay, how much will it be if you don't get it but no, you're not getting anything on edited from me, so no, I always include that then some people have asked me to give them raw files and I say no, not at all the only time I've given raw files out is when it's been like for a magazine and they need it for their own editor and I've had to do that before like bridal fantasy they have their own editor I had to give them their all files but they were they got me for that job and so it just depends when when it's a client it's like you're kind of losing a lot of control, right? Yeah, but personal client like I'm saying when it's a major client like like a magazine or something or a big company when it's like a personal client but do ours or whatever, you know? I mean, I just put my foot down and I'm like, no, you're not getting you're getting a roz listen, I want to pay me lots and lots and lots of money for it, but anyway yeah, so if you see here on her leg it's completely smooth it out I just took forever toe get said, I don't know why, but anyways there's without that and there it is with now I don't want it looking so much like plasticky I find it looking too fake, I will just go back and change the opacity down and I will blend in with the surface underneath and look more natural, so I'm still seeing, you know, the little bit of markings on her skin, you know they're not not so perfect. Look, I don't I don't ever want things to look completely perfect toe where it looks so photoshopping fake, you always try to keep a little bit of stray hair a little bit of like I said, a vein in the eye or a little bit discoloration somewhere. It just helps it not to look so overly edited, right? So that I would just flatten that merge those two together, and I will do the same thing again with the other lake. So it makes a big difference, it's something really simple and it's just the way I do it, especially on big chunks of skin like this. It's just the easiest thing for me to do. So um, are we going here? Keep losing what I'm doing so feather is a twelve create a new layer hitting control j command j and then again I go to filter blur surface blur I could have selected both legs at the same time but anyways um I'm going to keep it exact settings that I did I just hit okay because it's remember what it did last time so I'm just going to leave it there and let it finish I love these shoes teo so happy if I think about to shoot him they've been sitting on my house from once but it worked out went really great with the outfit soul so good question coming in here how long do you usually spend retouching and not so much just that time but there are a lot of us I'm speaking specifically of may who just spend hours and hours and hours because there's so many different options you can do this or you can do a black and white or you can do with this color tint or that you know in effect how do you avoid that analysis paralysis and just get image is, um okay, well, I do not okay, so like, today helps when I'm the way I'm editing here is like I'm talking and stuff and it's taking longer why is this not sorry it's taking longer than I normally would when I'm editing photos um sorry I'm having problems here okay? I don't care anyways I'm just going toe flatten this whole thing sorry I will like safer the images that I've edited in front of you guys already. Usually it takes me less than an hour. I don't take a lot of time to edit how doe I decide on what I want to do? You mean like just changing things into black and white or what options I want? I am I just do it until it looks good, I do it until I'm happy with the final product, when I have to create a siri's of images, though I have to pay attention to what I'm doing, and I actually actually have to write my note write notes of all the steps I've taken because if I don't, I can't keep it images consistent, so that's the way I do that, and then sometimes I create a hole like like a curves adjustment or whatever, and I will just actually click and drag those layers onto each other layers so that the color tones of the same, if it's not a preset. So it all depends, but normally I'm not a slow I don't sometimes he will post post things on facebook and stuff, and they're like, I just spent nine and a half hours on this photo I'm like like, how could you don't wantto yeah, so the least the less editing from me, the better I like to edit I do enjoy it you know I think you should have to enjoy it a little bit but I don't like to sit there and and end it on one photo for like, hours on hours options yeah like if you sit there and keep changing it to black and white and doing this not you never get it fied with to do it that because then you have our time so I just had it until I like it and I'm like, hey, that looks good I'm gonna finish now but anyway so there is there legs I just wanted to show you guys that because it helps to smooth out the leg I don't really need to do it over her feet I'm happy with the way it looks and um I'm also going to use a little bit of liquefying I haven't done that yet, but I feel like I like this picture a lot I love the way the her poses, but I cannot I'm not happy with like the way her neck kind of twisted and distorted her a little bit and I mean she doesn't look like that but sometimes in a shot you catch something just a moment just like when somebody takes a picture of us and our like eyes or half shut or you know something and it looks terrible right? So sometimes you catch something and um you don't really catch it in the camera, but I really like this photo, so I'm just going toe actually liquefy um around here around the area and even the way she's positioned here it's kind of popped her ear out stuff, so I'm gonna go over that we're going to go to filter liquefy I'm going, teo, assume in here close up a little bit more, and if you have advanced mode checked like so, it will bring up more options to create some masks when you liquefy, you need to be careful that you're not distorting things around the image with this it's not a big deal because there's nothing around her, but I'm still going to create a mask around her, so I've selected this tool here. This is your freeze mouse tool, and this is the thaw masked tool this is what they needed freeze and thaw, but anyways, this creates a mass this erase the master sam, creating a mask around her and say she's in front of a building with bricks or something, you don't want those books getting all started because people are gonna know where you liquefied it, so the brush size depends on what you're doing, so I want to just keep it down, maybe even less one hundred it's probably good for me, and I'm going to create a, um I'm gonna create a circle just around her like this hopes I was on the fall one so I'm gonna paint traitor here and it's creating a mask just around her so that I'm not distorting too much off the background because there's been noise applied you would see it even distort and the noise being pulled so I just want to work on the area around her here I want to push the air in I want to fix the neck a little bit it's looking really wide this girl's very tiny but it's just the way that shot came out so you zoom in a little tiny bit more now I've created that if you okay so so you go like that you're like oops it's just easy you just get rid of it getting rid of it they're more females er ok that's gonna keep popping up I'm just gonna leave that there and then we're going toe shoes look like liquefy toe I don't I don't use these other tools like the bulge tool and that this one is like pucker tool bloat tool I don't I don't even go into those I just use this same type of brush here when I'm working on it so well they gotta zoom in a little bit more and I'm just gonna strength is a little too strong brush pressure is at a hundred don't want that so I'm going to bring it down to a vote thirty just cause it was a little too strong and I'm just gonna push your air in a tiny bit I don't want to make it look like something else it's not and her hair I got assume back out to see how that looks and then I'm going to um work on the neck a little bit just push in I'll put the pressure up a little bit more forty maybe fifty way I'm just pushing that in there we're not gonna want to distort all the other area around there so and even over here ups part let me erase some of the mask go back just be careful to when you're done things air mass because if you're for using local fi on like say if I didn't clean this up and I'm pushing on the hair while the hair is going to go meet meet meet and it will be all weird so just make sure you're paying attention to where your masks his masks are want to much change on dh it's probably good I don't need too much there so what this is when I use liquefy normally little things like this that I feel like they've got distorted then you click ok and I like it a little bit better is just kind of may the knuckle little bit smaller, nothing crucial it's just fixed it on them that's that and then I will now um how I explained all use dodging and burning again to get some of the highlights out on the jacket um say I want to make the red pop I love red in my photos it's the same as anyone you want to guess how I change it to a darker red anybody anyways it's the same thing I do over and over and over and over and over so I'm just gonna take the last one tool in the circle of part of the jacket I'm gonna go to layer you adjustment layer q saturation I'm gonna call this jacket I don't even need to name these files I'm named these layers, but I'm just telling you guys because some of you probably like to work in multiple layers so just remember, you know, reminding that to make sure name these layers when you're doing things like this, you know where you're at and now it's created my mask again and I can bring the saturation way up it's kind of ridiculous right there, but I wanted to stay red, so I'm not going to change touch the hughes at all. I can bring the darkness or the lightness up or down this way, but I'll leave that on zero the only thing I want to do is change saturation and bring the read out and you don't need to do a lot of it this's going the office that way and de saturating it so I'll bring it maybe I don't know like right there I think I'm good and then I won't even paint that back over I'm just gonna swat my color back brush tool and then you just do the same thing because I had shown before we'll bring the opacity right up to one hundred and I'm gonna start painting over top really quick and it's not really affecting the buttons or anything like that sometimes it will change it if you're going over the skin or the hair and if it does it's easy to just paint back over and get rid of itself so now I've this is a very important thing to be doing with when you're working with designers or doing a fashion shoot especially if it's for a client because um things like this jacket because of the prix set that I applied we lost some of the vibrance and in real life compared to what we get in the camera it's not always it comes out dull usually are raws are are a little bit duller than so you guys saw the jacket in real life it was way more red than this so um it's a good thing to make sure that you are able to like bring colors back in and detail back into clothing and the garments when you're working on fashion images so I'm just gonna to his past I wish I could do like high speed you know when you watch those editing videos and this just superfast but going this can all right most done and my brush pass it is a hundred so and looks like I gotta go couple pieces here even in the back just remembered a change all that area out all right that's good and now I have to just make sure that hair didn't really change and it didn't look good uh things just while obviously the hair worked on this one fashion tv is wondering if you don't happen to get it right if there is any big issues do you have any techniques that you use to fix move hair is it any different? Um I don't I won't I won't move the hair but it's just a lot more meticulous you really have to go in like with tiny tiny brush strokes I'm doing this so fast and it didn't affect the hair but like I said when it does it's just a lot of back and forth masking you know there's no really no shortcut around it for me anyways I have to make sure that is exactly as I I need it to be so yeah if I so I don't know say right here do you see I'm going over there it's making really like yellow then I would just go back in and paint back over it again and you just kind of you really have to literally make like small brush strokes like this sometimes you have to go over like only one or two hairs to get the color's back in so hopefully that answers the question anyway so this is that and so now you can see the red it's nice and popped and I love it and I'm going to go over her shoes with the same red painted in go back to my white brush and now you're just making the shoes more vibrant on it works because it's red even though it's not the exact same red this is almost like your coloring you know, like in a coloring book or something growing up coloring book I'm really skilled at coloring fall those years with the children you know? All right, okay, so over here it's a little bit darker but that's okay, now the shoes are nice and red and the jackets nice and red and I'm pretty happy with that and I will not. And like I said, I'm not going to add any textures to this um there is actually not a whole lot I gotta do I might just want to clean up her face a little bit her face is blurry because it's ah pulled back image I can't get a sharp as I would if I was working on a beauty shot but I would just do the same exact thing actually but because um it's just too small I'm just going to actually do it a quicker way as the frequency separation there is no detail here because it's such a pullback image I'm not hurting anything it's just um the way that I had shot it so I'm just gonna kind of clone in here with the clone stamp tooled away I guys should I should you guys with the blur um I'm just going to try toe clean it up a little bit that way this is like the super fast way to do things lined see it wasn't aligned it unchecked itself and if you see here this is like when I want to edit something really quick I won't even go into all those other steps I'll just use this guy this is actually what I used to do a lot of before I learned frequency separation what a cheating going on but anyways so I'm just doing this fast cause of time's sake just kind of bring that back capacity up I just wanted to get rid of some of those shadows around her and I don't know I don't really have much more to do to this to be honest there's not a lot of work I shall it used to be donald maybe fix some of this part it's just a little bit patchy you guys have any questions for me you can't what your radius threshold what do you usually go in with a starting point? Um you have like a number that you can yeah yes I'll have to just hold on I'll have to do it so I can tell you so I would do this and I go select modify feather andi usually yeah okay, so usually I'm in between ten to twenty, twenty years the marks I won't go pass that because its feathers way way too much so um the only time I'll do it twenty is when it's like a full like close up on the face and I want to kind of blur out something even just a patch of it so usually is between twenty ten and twenty for this legs here I just guessed I put twelve and it worked out fine I might have had to go back if it didn't work out and readjust and put fifteen or seventeen and just kind of staying that in that range and then when you applied the surface yeah surface player so what is you I mean you you are you normally pretty spot on when you have that number two you've got a player oh, sorry with the threshold yeah, the threshold you know what? I can't tell you exactly what to do there you have to play with it and you know what? Don't even worry if you overdo it because you can go back into your layer the layer that you've created on dh bring the opacity down and you could that's the way I do what I even if it's way too blurry I will just visually look at it until I start seeing some of the skin underneath again so what blends really nicely together and even if you feel like the feather has gone off too much you can take your eraser on a race around the edges just a little bit so that it's staying within the skin instead of outside of the body like onto the background I mean you look yep okay and I don't know nothing I guess that that's good for me I'm just gonna probably like your eyes a little bit and and I can do some burning on her eyelids I'm just doing it right on top of layer but I gotta be fast here I'm trying to finish my edit so um yeah that's all and then you can just kind of I should you guys all the right way to do it now I'm showing all the wrong ways to do it just getting no and this is dumb just doing this quick so you can be finished with this I'll burn her lips a little bit and I think I'm good yeah so before it'll just show me what it was before like when I brought it into light room and I've just up the red colors. So just like I said that when you're editing fashion images, you don't want to do to too much also because these these pieces were brand new, there wasn't you know, there wasn't any lint or hair that I had to remove. There wasn't any like tags there hidden there, but when you are writing stuff like this, I would have probably had to rule the tags that would have had to like tucker in somewhere that jacket was clipped, so I don't have to flick with fire her in there. It was making her a little from people we clipped, and so we avoided doing that photo shop, and so yeah, when you're doing things like this and the focus is on the clothing, you want to keep editing at a minimal, you don't want to overdo it, not all this crazy stuff over top. Well, this is just for fun, but if it's not, you got to keep everything clean, and I think I'm I don't know, I think that's all, uh, we'll probably go into the rest of the kino now. Is that at work? I think that's great, I think maybe just one final question about retouching in general is, do you do all of your own retouching, or is this something that you ever higher professional rita cher's is it's, just such a part of your heart that you have to do it all yourself, or do you ever outsource it? I have never gotten anyone teo edit my images. I've let other people do it just for fun, like just to see what they would do it in my photo, but not for, like, an actual collaboration or anything. I'm getting to a point now. I think I need to actually outsource if anyone out there wants to show me there. Editing skills. Yeah, like, um, sometimes editing could be a little too much, but no, I do it all myself right now.

Class Description

When you think of conceptual, high-fashion photo shoots, you imagine budgets in the tens of thousands of dollars. Turns out, couture shoot concepts don’t have to cost more than $100. Join Amanda Diaz for a hands-on class that will show you how to concept, style, and photograph the images of your dreams.

This course will teach you everything you need to know to create high-fashion looks (including models, props, and locations) on a seriously shoestring budget. You’ll develop the strategies you need to carry out a complete low-cost, high-impact shoot from start to finish. You’ll also learn about creating a consistent, cohesive portfolio and develop ways to express your unique point of view in every image you capture. You’ll examine how a fear of criticism can unduly discourage you in the same way financial constraints do, and how to prevent those fears from holding you back.

From vision boarding to connecting with modeling agencies to shooting for publications and more, you’ll explore the tips and techniques every professional photographer needs to know.

Class Materials

bonus material with purchase

Lightroom Preset Samples

Photoshop Actions

Texture Samples

Creative Shoot Checklist

Mini Posing Guide

Amandas Favorite Photoshop Action - Enchanted

Gear Guide

Ratings and Reviews

Student Work

Related Classes


Dan ilicak

Amanda diaz has given me inspiration and purpose. I wake up everyday inspired to create a beautiful image, atleast enough to hold your "aww" for a few seconds. I can relate to Amanda on so many levels as I also found myself in photography and never planned for it. Just like Amanda, I also started from scratch with nobody to help or assist me. If I had found this tutorial a few years ago, it would have speeded up the process of learning. Even today I call myself a professional photographer, this course still had a lot to offer me. I can blab on and on about how much I love and support Amanda diaz, however I will make it short and sweet by saying three simple words, "Thank you, thank you, thank you!"

a Creativelive Student

This was the best creative and most prolific 3 days of a tutorial. Amanda covered the entire spectrum of what every photographer who's trying to become better and bigger go through. I loved the part where she spoke about how to shoot in any lighting situation outdoors and a few indoors. She not only spoke about them, she went into full detail to help the novice or advanced level photog. Despite the tethering issues CL had with Lightroom, Amanda poetically commanded every day of her 3 days. Another point is that she did everything "her way", and not the traditional textbook style of teaching and editing. One prolific point is that NONE of the previous CL instructors touched the issue of drama, unwanted criticisms, or unprofessional things that happen in the industry, however with a brilliant stroke of quiet humility, and courage, Amanda did. I believe it helped everyone realize that no matter what level of photography you're on that it happens and you have to oftentimes "bite your tongue", or "turn the other cheek". It also pointed out that as photographers we should be doing everything to help one another to build our industry, vice tear it down by hurting one another because of the mindset of "competition". Amanda Diaz, and CL I salute and thank you dearly! Semper Fi! Mike