Meet the Jury

How did you find your way into retouching, and what has kept you in it?

My path into retouching came through photography - I was trained almost entirely in analog, with the goal of working as a product and advertising photographer. But I essentially began my career as a retoucher, and that foundation defined everything that came after.

Working in post-production before I ever ran a studio gave me a clear picture of what photographers need to provide for retouching to actually work. I've seen too many files arrive missing everything a retoucher needs - and I've never forgotten that. Now I think about retouching while I'm still on set, making sure every plate is there before anyone opens Photoshop. The reverse matters too - I genuinely believe that good retouchers benefit from understanding what happens on set, not just what lands in their inbox.

How long have you been working in the industry, and what phase of your career are you in now?

I started in 2005 at Coldwater Creek and spent the next 16 years in full-time corporate positions - wearing every hat imaginable. Prop shopping, food and product styling, shooting, retouching, managing freelancers, building in-house teams, even hand modeling and then retouching my own hands. In 2022 I went freelance, which has its own challenges but also a freedom I've come to love. I've recently added art direction to my work, and I'm also returning to fine art photography alongside everything else.

What kinds of projects or environments have shaped your standards the most?

Two things, really. First, starting as a retoucher before becoming a photographer gave me an understanding of both sides that I don't think I could have got any other way. Second, my time in the darkroom at Rochester Institute of Technology gave me a technical foundation that still informs how I use Photoshop today. Understanding why each tool was developed - what chemical process it relates to - changes the way you think about what you're doing. It's not just clicking buttons. It's a craft with a history.

What made you want to be part of the Retoucher of the Year jury?

I wanted to be part of elevating retouching as a profession - recognising genuine skill and knowledge, and promoting what I see as the humanity behind the craft. True creativity requires consciousness. It requires a human being making decisions, not just processing pixels. That's something worth celebrating.

When you open a new file, what do you look at first before touching anything?

Exposure and color first, then composition. Critical elements often get passed to retouching by photographers who assume it can all be fixed in post - and sometimes it can, but that attitude is lazy. It disrespects the retoucher's time and the client's budget. That said, I am always genuinely impressed by what a skilled post-production team can pull off with even the most difficult captures. The best retouchers I know are remarkable problem solvers.

When working at scale, how do you make sure nothing is missed?

Process, attention to detail, good workflow, project management, and a strong team. There is no shortcut to any of those things.

Beyond technical ability, what really determines whether someone builds a sustainable career?

Good workflow - not just inside Photoshop but in file management and naming conventions too. A solid retoucher should also have a real grasp of digital asset management and a foundational understanding of IT. These things sound unglamorous, but they are what separate professionals from people who are just good at retouching.

What do you think this industry needs more of right now?

Thoughtfulness, and trust in the human process. We are moving very fast right now, and speed is not always the same as progress.

What is one insight you wish more retouchers understood early in their career?

Non-destructive workflow - and building it as a habit from day one, not learning it the hard way later. Layer order, file management, smart objects, adjustment layers - these are not optional extras. They are the foundation. Bad habits are genuinely hard to unlearn, and they will hold you back long after you think you've outgrown them.

A final note from us

Amalea brings to this jury a perspective that is genuinely rare - someone who has lived on both sides of the camera, built studios from nothing, and never lost sight of the craft beneath all of it. Her insistence on thoughtfulness, on process, and on understanding the full image-making chain makes her exactly the kind of thinker this panel needs.

We are proud to welcome Amalea Dora McNamara as a member of the jury for Retoucher of the Year.

About Amalea Dora McNamara

Country: United States

Years in the Industry: 21

Primary Specialization: Product Photography and Retouching - Luxury, Housewares, Softgoods, Food and more

Main Expertise: Complex Compositing, Color Correction, Skin, Metals, Hi-Gloss Products, Food, Rendering Materials and Textures

Website: amaleamcnamara.com

Instagram: @amaleadoraphoto

Behance: behance.net/amaleadora

LinkedIn: linkedin.com/in/amalea-dora-mcnamara