Meet the jury

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

It was by chance. I was on a platform looking for a job and found an offer that invited very junior people to learn retouching in a studio. At that time I was finishing Audiovisual Design at university and also doing a color correction theory course, so I was motivated to continue down that road. I still am.

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

It's going to be 12 years in June, nine of those as a freelancer. I think I'm at the point where I want to value my work and myself - or at least try to. I also like being able to respect and maintain certain healthy ways of working. I think that also improves the quality of the work.

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

First it was the studio where I worked - I learned to do things in a certain way. Some industry standards seemed strange to me, artificial. Fortunately, over time that changed a little. Natural looks, which best suit my work style and vision, began to be more accepted.

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

I'm not quite sure, honestly. Part of it was the mission of the competition - to be recognised as retouchers, so that explaining our work to others isn't so strange. But on the other hand, seeing the work of other colleagues, regardless of their level of experience, teaches you other ways of doing things. That exchange is very valuable, rewarding, and goes both ways.

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

First, I see the whole picture and locate what is distracting me, calling my attention. Also, depending on the job, I organise mentally what the steps will be on those particular images before I do anything. In general, I make sure the basic color is right before anything else - so a preview conversation with the client or the photographer is essential to go down the right path.

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

Small or large, it's about seeing the material thoroughly. But it does happen that you miss some things - sometimes we are looking so closely that we pass over some obvious details. Fortunately, other people also review the material before it's printed or published.

I think looking at the photos a little while after retouching them gives a fresher perspective - you see things you may have missed, or overdone.

Retouching is just one skill. Beyond technical ability, what really determines whether someone builds a sustainable career?

I think the key is how we use the tools, and to what extent. We have to use our eyes, our common sense, and think about the objective of each project and each photo.

Should a retoucher develop a recognisable visual signature, or stay adaptable?

I think it's a little bit of both, or a balance. I try to adapt to the project but it's still me who handles the material. Not always do I see a result that represents me 100 percent - and I think that's just part of the job.

A final note from us

What we appreciate most about Carla is her honesty - about how she got here, about the tension between adapting to clients and staying true to herself, and about the simple importance of valuing your own work. Twelve years in, she is still curious, still learning, and still pushing for a healthier, more sustainable way to do this craft. That kind of self-awareness is a real asset on a jury.

We are proud to welcome Carla Rossi as a member of the jury for Retoucher of the Year.

About Carla Rossi

Country: Argentina

Years in the Industry: 12

Primary Specialization: Fashion, Editorial, Product

Main Expertise: Colorimetry, Color Correction, Skin Retouching, Product, Clothes Retouching, Compositing

Website: carlarossi.co

Instagram: @carlarossiretoucher

Facebook: facebook.com/carlarossiretoucher

Behance: behance.net/carlarossi

LinkedIn: linkedin.com/in/carlarossi14