Koray wrote:
Keep hiring retouchers

Natalia_Taffarel wrote:
I always LOVE it when people guess the post production without seeing the original.

You need a point A to get to B
Depending on the point A are the steps to get to B

There's NO way the same approach would work on two different points A

This is a great point.

However, at the risk of stepping on Natalia's point and having not seen the starting image, I'll try to make an educated guess that can be applied to images like this in general.

Overall, it's a very contrasty image, so you'll want your main curve to be something resembling an S curve.  I didn't make this jpeg, but it's a good explanation of what the curve does:

Your mileage my vary.

Global color and contrast will only take you so far. Another thing to consider is her skin; for the most part, it's color balanced, meaning that her fingers and feet aren't overly pink, there aren't more prominent green tones where the bones are closer to the skin, etc.  If an area is too pink, add some yellow (in the fingers for example), and if another area is too green, add some magenta.  It's these little details that make the image more cohesive. There are things in the image I would've done differently (her camera right hand is overly retouched, the boot looks about a size or two too big for her due to the lens distortion at the edges), but I'm just focusing on skin here.  Also that outfit is cray cray.  Back to the point though.
  You do this with localized adjustment layers, either curves, hue/sat, levels, selective color; whichever one works best for you.  If you do not know how to make masks to do this, I suggest you learn masking first.  It really is such a powerful foundation for color work and compositing and basically any form of commercial retouching.  It's the reason why junior retouchers first tasks at a studio are cutting masks.