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In the first chapter of the course you will get acquainted with the world of digital photo editing for online stores. I'll explain how a typical photo studio operates and how original images should look before you even get to retouch them. I'll cover other important topics: how many images in a day can a retoucher retouch, how much Photoshop knowledge you should have before you can become a true professional, and why it's so hard to find anything product image related on the internet. The main problem of all studios – the “postproduction will solve this” attitude will be thoroughly discussed, and you will learn how to tell our responsibilities from others' responsibilities, and what to do when there's something wrong with the images. If you've been working as a product image editor for a while, you probably know all this, but it will let you see that I'm in the same boat as you and that we speak the same language. A good start.

laptop and graphic tablet used by a person, a pair of shoes on white background shown on the screen

Questions answered:

  • What qualities a product image editor needs. Are we really artists?
  • How many images a retoucher can retouch in just one day
  • The two primary goals of a product image editor
  • The responsibilities of product photographers and their assistants
  • What is usually wrong with typical raw product images

The second chapter is dedicated to a very important topic that is often overlooked – our working space. You'll understand why there's no such thing as a “correct” or “right” color, how our color perception works and what you should keep in mind when choosing a room to work in. You'll learn the basics of monitor calibration and what you should do if you can't afford a colorimeter device. Setting up Photoshop in a proper way is also very important, and this topic is also covered, as well as RGB color management. You'll learn why you shouldn't set the RGB Working space to be your Monitor's RGB. At this point no questions like “why am I seeing different images in Photoshop and Facebook?” or “Why are my images look decent everywhere but are awful when I open them in Photoshop?” should arise anymore. Then we'll discuss the usual choices: mouse or tablet, PC or Mac? You see, when you know what you're doing you can retouch on a microwave screen. And finally, I will debunk the great “non-destructiveness” myth, and you will learn whether it's really necessary to use all those adjustment layers, smart objects and stuff like that.

Questions answered:

  • What color is and how can we transfer it from the garment to the web
  • Is the room you work in important? How should it be organized?
  • How necessary it is to calibrate you monitor
  • How to tell if your monitor is showing a decent image or not
  • Is it possible to retouch product images on a cheap average monitor?
  • Which color settings should be used in Photoshop and how not to mess things up
  • Mouse or tablet, which is faster?
  • PC or Mac? What's the big deal with Retina?
  • Why non-destructive editing is a bad idea in product image editing

If you have at least some experience in Photoshop, you know it's all about the color and contrast. That's what is important. But how should we color correct for the web, is it any different from what the prepress technicians do? Of course it is. Color correction for the web is a totally different world. You might not realize that, but we can't make all the people see the same thing on their monitors no matter how hard we try. That's the problem. The third chapter is dedicated to the problem of transferring color via computer screens, not in theory, but in practice. Our tool number one here is Adobe Camera Raw – a raw converter that can be used to process both raw and jpeg images and speed up our retouching process.

Questions answered:

  • Why it is a bad idea to try and match garment colors to screen colors
  • Why we are not able to transfer colors through the web so that all the people see the same color
  • Why we need Adobe Camera Raw
  • Is it necessary to shoot in raw format?
  • How ACR works with raw and jpeg images
  • The difference between 2010 ACR and the new versions
  • What step by step correction in ACR looks like
  • The most useful ACR tools and features in product image retouching

Ahh, my favourite topic! You can't imagine how much time and money I saved myself and for my employers thanks to all the Photoshop actions and scripts that I wrote over the years. Automation is essential in product image editing because we do the same things to large batches of images. I don't know why, but people often underestimate the power of automation, but I assure you: it's not just a way to save time and money, it's not rocket science either. You will the difference between actions and scripts, understand how it all works and even write a simple script of your own. This chapter is relatively short because we still need to learn a lot before we can use automation to its full capacity. But we will get there eventually, so be patient.

Questions answered:

  • Is it true that actions and scripts can greatly increase retouching speed
  • What can scripts do that actions can't
  • Why everyone should use the English version of Photoshop
  • Is it necessary to update Photoshop as they release new versions?
  • How to load and run actions and scripts
  • Is it necessary to be a programmer to write scripts?
  • How to write a simple script and never save an image with wrong dimensions again
  • How to use the Script Listener plug-in to write scripts while not being a programmer​
  • What are the most useful JavaScript commands and what they do​
  • How to make Script Event Manager run scripts and actions, and how it can be useful
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A short, but important chapter. To work in a fast manner, all the tools and commands that we constantly use should be accessible. You'll learn how to organize the working space in Photoshop and how much time using shortcuts can save you. Ever faced the problem when Photoshop resets to the default settings and all your custom shortcuts and workspaces are lost? Learn how to save them and load to avoid any unnecessary hassle.  

Photoshop proper color settings for product image retouching

Questions answered:

  • Which Photoshop preferences are important for product image editors
  • How panels and menus should be organized in Photoshop
  • Why it is necessary to use shortcuts and how much time it saves
  • Which shortcuts are the most important and have to be memorized
  • How to export and import custom settings in Photoshop

This is where it gets intense. Background removal is one of the most important, not mentioning time-consuming tasks in the industry. The time you save here is pure gold. I'll give you a short tools and techniques overview, and you'll learn the method that proved to be the best for at least a million of product images. There are so many ways how you can change the background in an image, and I'll explain most of them: transparency, chromakeying, natural and artificial shadows, reflections, you name it. Complicated issues like isolating gray fur on a gray background will also be discussed, and you'll see there's nothing impossible when you have the necessary skills. I'll demonstrate the method that lets you replace the background with white automatically – why waste time on something that can be done in seconds? And finally, you'll learn how to check if the background is truly white, both manually and with a script.

Questions answered:

  • Which Photoshop tools can be used for background removal and how
  • What is the fastest way to isolate a smooth, well-defined object on a relatively consistent background
  • How to modify a selection and why is it so important
  • How to write an isolating action to speed up the process
  • How to replace the background with white
  • How to add a shadow to an object, be it artificial or natural
  • Chroma keying, or how to remove the green screen in seconds
  • How to make a transparent background and save it
  • How to isolate fur and what to do if the object really blends with the background
  • Is it possible to remove the background automatically
  • How to check is there's any trash or residue left on the background

Time to learn the basics! Yes, again. The reason why we go through all the basic tools and techniques is simple: Photoshop has so many great features that it's impossible to be aware of them all. We'll make sure that no vital techniques get overlooked: transformation tools, tools used to remove imperfections, brushes, content-aware fill, a few useful filters. Then blending modes: how many of them do you actually use on a daily basis? Should be at least four not including the normal mode, otherwise you're missing a lot of fun (and robbing yourself of precious time). Then comes our gem: the frequency splitting, which is the most controversial and underestimated technique in product image retouching. I'll show you how to remove clothing wrinkles with it and you'll love it as much as I do

balmain long black women boot before and after product image retouching

Questions answered:

  • How to use Liquify filter quickly and efficiently, and never drag any edges in without having to mask them
  • How to transform objects and even bend them without causing severe distortion
  • Why you should preferably apply each tool or filter once instead of making small changes here and there
  • Why rotating an image a few times turns it into a pixelated mess
  • Why you should always remember about Content-aware Fill and how to make it work better
  • Which settings should be used to turn the useless Mixer Brush into an awesome retouching tool
  • How you can use the History Brush to restore shadows and remove dust and dirt in seconds and without any masks or layers
  • How to rotate the Clone Stamp to be able to stamp in curves
  • Which filters are the most useful in product image editing
  • How to combine blur and noise to quickly hide defects and blemishes without anyone noticing
  • Why blending modes are easy to use and how they work
  • Which blending modes are the best and how to access them fast via shortcuts
  • Why you absolutely must master frequency splitting and how not to ruin your images with it
  • How to remove wrinkles quickly without making the garment look weird

This chapter is dedicated to a very important subject – how to retouch human beings without making them look weird. We'll start with color correction in both Adobe Camera Raw and Photoshop. There is a way how to adjust skin color and tone without even having to select it first! Then I'll teach you how to automatically smooth skin to make it instantly look better (no blurring involved). There are expensive plugins that help with that matter, but who needs them when you can do the same with just Photoshop actions. Then I'll show you how to retouch every part of the human body you might ever need: feet, legs, bikini area, elbows, nipples, armpits, face and hair. Removing marks on skin included, as well as shape and pose correction

Questions answered:

  • How skin should look and why blurring it is not a good idea
  • How to see if the white balance is correct when you have a model image
  • Which sliders are the best when you want to adjust skin tones in ACR
  • What to do when you have a bunch of model images where legs are significantly darker to fix all the images at once
  • How to quickly fix common skin issues in Photoshop with just brushes in different blending modes
  • Automatic skin enhancing in three simple steps: select, smooth and apply texture
  • How to deal with feet close ups and all the veins and rough skin
  • What to do when legs are darker than the rest of the body
  • How to remove a see-through nipple even under a mesh
  • What is the fastest method to cover up underwear marks on skin without making it evident for everybody
  • How to retouch armpits when they are dark and wrinkled
  • Why you should stop removing eyebags
  • How to deal with a shiny face in just a couple of brush strokes
  • How to deal with hair frizz when you only have a minute or less
  • Why you shouldn't use Liquify unless there's a good reason
  • How to correct an awkward pose really quickly
before and after automatic smoothing skin in Photoshop

Almost any product image editor deals with clothes a lot. A lot! And when we say clothes retouching, we usually mean shape correction and wrinkles retouching. I'll teach how to quickly fix bulges and flatten wrinkles with powerful retouching tools like the Liquify filter and the Split Frequencies technique. Retouching clothes doesn't have to be tough even if someone forgot to iron or steam them. However, clothes preparation is an essential part of the process, so we shouldn't retouch just anything: if too much time is needed, they better take care and reshoot the item.

Questions answered:

  • How to use the Pen tool and Liquify filter to quickly pop all the bulges back in
  • How to use Clone Stamp and Mixer Brush to flawlessly eradicate wrinkles
  • How models are different from mannequins in terms of clothing retouching
  • Which bulges and wrinkles should be left alone and which should be removed
  • Why image size matters and how it affects dust, dirt and wrinkles
  • In which cases it's okay to just smudge the wrinkles and how to cover up your tracks
  • What's the deal with transparent clothes and when action is required

Not every online store deals with ghost mannequins, but as it's still a popular clothes demonstration method, there's a big chance you'll encounter these plastic monstrosities one day. No one likes retouching mannequins. You have to trace clothes with the Pen Tool, you have to combine multiple images into one, and it all takes time and effort. There's no such a magic trick in Photoshop that will allow you to skip background removal and backside insertion when you're working with ghost mannequins. But I've been dealing with them for 7 years, I know how to do it all properly, and I will show you the quickest methods available. In product image retouching, we never despair!

Questions answered:

  • How the shooting process affects the retouching process, and what has to be done with mannequins to make them look decent
  • How to remove the mannequin from the image to make it a “ghost” one
  • How to insert the backside (the inside out piece with the label) and make it look natural by applying a shadow
  • How to automate the backside insertion process to speed things up
  • How assistants and photographers have to dress mannequins to make things easier for us
  • What are the most common problems that make it impossible to combine a decent ghost mannequin image
  • Why symmetry is important and how to quickly fix symmetry issues in Photoshop
  • Why you should be careful when flipping mannequin images
  • How to retouch trousers shot on mannequins and why maintaining a straight waistline is important
  • How to retouch dresses and why you should watch out for sleeves height
  • Why mannequins are not the best option for shooting underwear and how to handle this issue

Mannequins and models are not the only options. Online stores use flat lays to demonstrate garments. This technique is especially popular when it comes to kids clothes. However, shooting flat lays is not an easy thing. First of all, I will explain how to handle flat items on the photography stage to minimize retouching efforts later on. Then background removal – once again, it all depends on the photography stage. Once we finish with that, I'll show you how to retouch flat lays in general, how to remove props and wrinkles and how to combine multiple items in one image if they were shot separately.

Questions answered:

  • How to eliminate shadows when shooting flat lays in the studio
  • Why bright white background is not something we really need when retouching and why it can even be bad for us
  • What a typical flat lay retouching workflow looks like
  • How to remove props and what are the typical props used for flat lays
  • Are wrinkles good are bad (actually, both), and how to remove them if they are not supposed to stay
  • How to combine sets and what to do if a white rim appears around a pasted object
  • Why flat underwear is better than ghost mannequin underwear and how to retouch it quickly

My favorite chapter! Object retouching means shoes and bags and all numerous items sold in online stores. Everything that is not clothes is objects to us, retouchers. It doesn't matter, coffins or cutlery, all we care about is texture and shape. We'll start with shoes: high heels, long boots, stretchy boots, stickers on soles, dirty soles, even sandals with straps that can't hold their shape. Then bags: small, big and wobbly, supported with plastic fixtures, metal wire or fishing line. Then I'll teach you how to quickly remove reflections and fingerprints, and that'll take care of all the metal objects in the world. There's also quite a bit of information on jewelry, watches, sunglasses, scarves. I'll also explain how to remove labels, and at this point you'll probably love object retouching as much as I do.  

Questions answered:

  • How to combine two images in one if the shoe is really tricky
  • What are the quick and dirty methods that help removing dirt and dust from smooth surfaces
  • Why shoe boxes are evil and what to do with all the tiny paper bits stuck to the shoes
  • How to quickly bend high boots if they fall backward
  • How to remove background and fix the shape at the same time
  • Why upper edges have to be straightened and how
  • How to quickly remove stickers on soles without having to clone stamp them
  • How to remove props like fishing line, wire, tape, fixtures, tape etc.
  • Why symmetry is important and what to do with wobbly bags
  • Why you should never clean dust on high-resolution images
  • How to handle wrinkled leather if it's not supposed to be wrinkled
  • Why everyone hates reflections and how to eliminate them quickly
  • How to deal with dirt and fingerprints on metal surfaces
  • Why jewelry is so tricky to retouch and how to shoot it properly
  • Which is the best method to clean dust on metal without ruining the edges
  • Why one earring is enough and you don't need to retouch both
  • What's special about watches and how to deal with them
  • How to make a perfect square scarf with just a couple of tools
  • How to remove reflections on sunglasses even if they cover the whole lenses
  • Which labels are supposed and not supposed to be removed and how to do it

This chapter is relatively short, but important nonetheless. What can be worse than cleaning a dirty background with the Healing Brush? In my opinion, nothing. I'll teach you how to automate the cleaning process so that you can do it in seconds, with an action. No need to select the background, no banding afterward. Fast and easy.

Questions answered:

  • Why you should't use Dust & Scratches filter alone to clean the background
  • What posterization or banding is and how it can ruin your images
  • How to prevent banding from appearing when you use blurring filters
  • How to record and use a cleaning action to speed up the process
  • Why split frequencies is not the best technique for background cleaning
  • How to quickly fill blank canvas when you rotate an image
  • How to avoid blank canvas when you move an image

Finally, the ultimate moire removal guide. There are some tutorials for sure, and some of them even work. But what works on one image will be useless on another. All because there are many different kinds of moire that require different methods if you ever want to reduce or remove the dreaded stripes. I've got all the information right in this chapter, all in one place. You'll become the true moire killer after you've studied it. No boring anti-aliasing and interference patterns explanation. Straight to the point.

Questions answered:

  • A wavy pattern appearing where it is not expected. Moire?
  • Camera induced moire: when your gear is at fault
  • How to prevent camera induced moire patterns
  • Preview moire: something that doesn't really exist
  • Why you should not fight preview moire and why some tutorials make me laugh
  • Interpolation moire: how resizing can cause problems
  • How to prevent interpolation moire and which interpolation algorithms are preferable
  • Colored moire: when there are blue and yellow stripes all over
  • Reducing colored moire in ACR and in Photoshop
  • Monochrome moire: the worst of all
  • Channel mixer, Hue, Lab, Split Frequencies moire removal methods
  • True moire: something that exists in real life
beige texture before and after moire reduction in Photoshop

“This black shoe is too dark! I can't see what's it made of!” Or: “This white t-shirt is too dull and looks gray”. Familiar situation? Problem is, different screens show different images. For some people, black will look too dark, and for others the same black will look dark gray. Same with white. But don't worry, there is a solution. As a person who supervised more than a million of product images, I know how black and white items should look to satisfy most customers, and I'll teach you all I know. We'll make these textures pop up!

Questions answered:

  • Why you shouldn't use ACR basic sliders to deal with the black and white problem
  • What tonal range is usually perceived as “white” and how to measure the numbers
  • Three main goals: decent overall contrast, no clipping, adequate tone
  • Why you shouldn't randomly desaturate white items
  • How to quickly adjust white items with Autocontrast and Selective Color
  • How black should black items be to be perceived well
  • How to brighten black items with Shadows/Highlights
  • What's so tricky about black suede and black velvet
  • How to make black textures pop up without bringing in dust and spots
  • Using Brush in the Divide mode for quick edits
  • Using High Pass to reveal white textures
  • How to deal with glossy black items

It doesn't matter how many hundreds of product images you can retouch if none of them pass the quality control. It's the ultimate goal of any retoucher: make the images so that they pass the quality control, or you'll never get paid. Being a head of retouch for 7 years, I know everything about quality check and I will show you how the images should and should not look to be accepted and put online. Quality standards vary from store to store, but there are always some average guidelines we all should be following.  

Questions answered:

  • Technical requirements such as image size, image type, resolution and so on
  • The typical demands for all kinds of product images: lighting, consistency, focus and detail
  • Background removal mistakes that should be avoided
  • Object retouching demands: shadows, reflections, dust and dirt, props
  • Mannequins and flat lays: sleeve height, symmetry, waistlines, backsides, seams, proportions and wrinkles
  • Models: skin defects, palms, knees and elbows, shoe size, hair frizz, labels, stickers, armpits and nipples and more
  • How to check your own images using Adobe Bridge
  • Why the Metadata panel is so important
  • How to check background removal quality with ACR

In product image editing, it just happens. We might get weird requests: “Please, make something red blue”. Or worse: “Change white to black”, and vice versa. Every retoucher knows there's the Hue/Saturation interface, but there are more sophisticated ways how to change color when we need drastic changes. Don't worry, it doesn't have to be hard at all.

black balmain shoe colored white in photoshop before and after

Questions answered:

  • Color, tint, shade, tone, hue. What's this all is about
  • Why it's easy to change hues but hard to change tones
  • Why you have to select the surface you're planning to colorize
  • “Blend if” feature and its great role in color changing
  • How to turn white into black and black into white quickly
  • How to record an action to ease the process

In product image editing, resizing images is crucial. The less size in pixels, the better. You already know why – because all the trash and dust just disappear when the image becomes smaller, as well as complex textures, and it's much easier to retouch and clean. But it's not an easy process. Photoshop has many resizing tools and quite a few interpolation mechanisms. I'll teach you exactly what to do to avoid moire, rough edges and other complications of resizing gone wrong.

Questions answered:

  • How Image Size interface works and what you have to know about interpolation
  • Why it's totally okay to crop with the Crop Tool, but not to resize with its help
  • How to change Canvas Size to make sure the size is 100% correct
  • How to sharpen an image after resizing
  • High radius, low amount sharpening and why it's not supposed to be used on every image
  • What to do if a moire pattern appears after resizing
  • What to do if a moire pattern appears after sharpening

Sometimes resizing is not enough. Some online stores demand a more standardized approach, especially when it's object retouching: shoes, bags, accessories and so on. What if we have to make sure that all the objects are aligned exactly the same way? Centered or stuck to the bottom, trimmed to the edges or fit into some margins of a particular width? It's relatively easy to do when you have products surrounded with a white background, but what if there's a shadow underneath or the background was never removed in the first place? Well, relax. It's all a piece of cake. When the workflow is correct, aligning any object only takes a second or two. I've automated the process 100%, and I'll show you how to do it.

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Questions answered:

  • Why you should never stretch, transform, copy or paste anything manually in Photoshop
  • How trimming works and when it's an applicable method of alignment
  • How to align both high and wide objects with just one button
  • Why trimming is not such a good idea when you need to align something that has a shadow
  • Why we might need a selection to show Photoshop how exactly the object should be aligned
  • What an alpha channel is and how Photoshop handles selections when you want to store them
  • Why you shouldn't try removing alpha channels with actions
  • How to align pretty much anything isolated with a shadow with just one click
  • What can go wrong and how to prevent misalignment
  • How we can align objects on their original, non-removed background
  • Edge detection: three methods that let us recognize edges
  • How to turn edges into selected edges and solve the alignment problem

When the need to save arises, it means the retouching process is almost over. However, there are still many opportunities to mess it all up. We could save the images with the wrong quality setting and make them blurry and pixelated, or we could save them to a random folder with a random name and lose forever. That's why this chapter is important: it's time to learn how to control quality and size and never lose an image again.

screenshot of notepad with javascript for Photoshop

Questions answered:

  • Why saving a hi-res might be a good idea and when exactly to do it
  • What happens to jpeg when you resave it multiple times
  • Why Photoshop sometimes adds “-copy” when it saves jpegs and how to avoid that
  • How to save via scripts and why it's better than just saving via the Save As command
  • Saving to subfolder, resaving, preserving folder structure: three typical issues explained and scripted
  • Why we save our images with the highest qualitty possible
  • How to process images when we need to lower their quality
  • How to process images when we need them not to exceed a certain value in kilobytes


1. Introduction to catalogue retouching

Specific qualities of a catalogue retoucher

How many images you can do in one day

Course requirements

Course outline and structure

Catalogue retouching. E-commerce. Product images

Photo shoots in online stores

Typical problems of studio photographs

2. Organization of workspace

Retoucher's workspace: brass tacks

Color and tone perception tests

Monitor settings

Basic color correction by numbers

Photoshop color settings

Mouse or tablet?

PC or Mac?

Retina and other HD displays

Non-destructiveness myth

3. Color correction

Prepress and web

Color Matching

Color Preservation

Adobe Camera Raw

Raw and JPEG in ACR. Comparison

Current process vs 2010

Image correction in ACR

A basic preset

Camera Raw features

Step by step correction examples

4. Automation in Photoshop

Photoshop versions and languages compatibility


Loading and running actions

Simple Actions

Complex Actions


Running scripts

Why scripts and how they can be used

Check image size with a script

Useful JavaScript commands

Script Listener

Script Events Manager

Events list

5. How to set up Photoshop




Exporting and importing custom settings

6. Background removal. Isolation

Isolation tools and techniques overview

Rectangular & Elliptical Marquee

Freehand & Polygonal Lasso

Magic wand & Quick Selection

Pen Tool

Quick Mask

Select Color Range

Select & Mask

Select Subject

Levels & Curves

Selective Color

Background Eraser

Magic Eraser

Blend if

Tools and methods of choice

Rectangular Marquee and Magic Wand

Modifying selections

Isolating action

Isolation of multiple images

Isolation types

Total white

Isolation with a natural shadow

Automatic shadow restoration

Isolation with an artificial shadow

Isolation with a reflection

Model isolation

Isolation on gray

Chroma key isolation

Transparency isolation

Complicated issues

White shoes on gray background

Gray fur on gray background

Thin fur

White net on gray

Automatic isolation

A bit of theory


"Magical" isolation

Isolation quality control

Typical mistakes

Final isolation check

7. Retouching basics

Transformation tools

Liquify (Forward Warp, Freeze Mask, Pin Edges)

Free Transform (Warp)

Puppet Warp

“Use it once” rule

Imperfections removal

Healing Brush, Spot Healing Brush, Patch Tool

Content-aware Fill

Brush and Mixer Brush

Clone Stamp (Clone Source)

History Brush

Useful filters. Blur, Noise, Dust & Scratches

Blending modes

Apply the last settings & Fade trick

Frequency Separation

A method with a bad reputation

How to make it work

Removing wrinkles with frequency splitting

8. Model images retouching

The overall idea of model retouching

Skin color correction

Adjusting skin tone in ACR

Adjusting skin tone in Photoshop

Automatic skin enhancing and smoothing

Human body



Bikini area



Underwear marks on skin




Shape correction in general


Body shape

Plus size models

9. Clothes retouching

Clothes shape

Clothing wrinkles removing

Transparent clothes

Close-ups (detail shots)

10. Ghost mannequin

Mannequin removal

Backside insertion (neck joint)

Backside images demands

Mannequin symmetry



Transparency problem

Underwear on mannequins

11. Flat lay images

Flat lay photography

Flat lay isolation

Flat lay retouching

Props removal

Removing wrinkles

Sets combination

Flat underwear

12. Object retouching




Dirt and fingerprints





Miscellaneous objects


13. Background retouching


Background cleaning action

Content-aware Scale & Fill

14. Moire reduction

Moire kinds

Camera induced moire

Preview moire

Interpolation moire

Colored moire

Monochrome moire

Advanced moire reducing methods

Channel Mixer

Hue method

Lab mode moire suppression

Split frequencies method

True Moire

Dealing with moire: a scheme to follow

15. Black & white items

Overall contrast



Black suede

Black velvet

Texture revealing in general

Black texture revealing

White texture revealing

Glossy items

16. Quality control

Technical requirements

A list of typical demands


All kinds of items demands

Specific quality demands



Mannequins and flat lays


Quality control process

Adobe Bridge

17. Changing color

Color, Tint, Tone, Shade, Hue

Automatic colorizing

Colorizing action

Blend if in color changing

Black to white and vice versa

18. Resizing images

Image size

Crop Tool

Canvas Size


Moire after sharpening

19. Image alignment

Aligning images via Trim

Aligning images via Selection

Aligning images via Alpha channel

Aligning images via Edge detection

Smart Blur edge detection

High Pass edge detection

Find Edges edge detection


20. Saving

Saving hi-res images as backup

Saving a Jpeg multiple times

Saving via scripts

Saving quality

Batch resave with lower quality

Batch to a specific folder with specific quality

Batch while preserving folder structure

Batch to specific file size



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