Meet the jury

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

I've always enjoyed puzzles and problem-solving, so the transition from photo assistant to digi tech and retoucher came naturally. Being the conduit between photographers and clients, while also being a creative, has allowed me to help shape and refine a project's goals and feel like I'm a big part of the puzzle.

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

I started right out of art school in 2010. I photo-assisted for seven years, and then moved over to digital teching and retouching. Eight years into digi teching and retouching, I have started to move over to exclusively retouching.

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

Something that has really shaped my standards has been collaborating closely on projects with other retouchers. Whether it's being part of a digi assembly line where I'm passing my work on to the next retoucher, or a larger project where multiple photographers and retouchers are working together, being able to communicate with other retouchers on skill and quality has only increased my efficiency and standards.

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

The only thing I have really missed since moving towards primarily retouching has been the tight community I had while working on set as a digi tech. Being a jury member opens the door to making new connections and relationships, learning from other experts in the field, and being part of building up fellow retouchers and their portfolios - to highlight the hard work that often goes unseen.

When working on major campaigns compared to smaller projects, what truly changes?

There are so many more eyes on major campaigns than smaller ones, but sometimes those smaller projects don't have as many eyes yet have more keen ones. So for me, not much changes. The pixels can't be any more dense than they already are, so projects receive a similar care and quality.

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

I look at the type of file I'm getting, and that lets me know where I can stretch things. Whether I'm getting a RAW file and need to carry a look across the project, or if I'm receiving processed files that go right into retouching, identifying where to start bigger color corrections - either at the front or back - is where I begin.

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

When I can, I love being able to have the four eyes rule in place. Before a client sees things, I like the photographer or another creative to have a look to see if anything stands out or was overlooked.

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

I think it all comes down to how well you communicate and how you take feedback. Part of our role is to listen and interpret what needs to be done, to try and understand what exactly the client is describing about a desired change. If they aren't used to saying things like "it looks too cool" or "too flat," but instead use more general terms like "something doesn't look right" or "it still needs zest" - you have to learn to read into that. Being able to communicate and interpret the client's needs and expectations is critical in a long-term career.

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

I would love to see a higher focus on the process - understanding what it took to make things the way they are. Embracing the craft and skill put into everything, from the perfectly placed bun on a burger to the expertly staged set. Seeing all those skills just shines a light on the hard work people in this industry do to bring a photograph to life.

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

Understanding basic techniques and best practices sets you up for greater success in the long run. I knew a lot of different ways to cut corners when I started, but the more I took my time to build files and refine my craft, the more success I found in advancing files to their final state faster and with better quality. It's true that practice doesn't always make perfect, but refining your practice towards perfection does.

A final note from us

Derek brings a perspective that is genuinely hard to find - someone who has spent years on both sides of the workflow, on set and in post, and who understands how those two worlds depend on each other. His focus on communication, collaboration, and the quiet discipline of getting it right every time, regardless of project size, is exactly the kind of standard we want to celebrate.

We are delighted to welcome Derek Ahlberg as a member of the jury for Retoucher of the Year.

About Derek Ahlberg

Country: United States

Years in the Industry: 15

Primary Specialization: Product, Interiors, Furniture, Food, and Lifestyle Retouching

Main Expertise: Compositing, Color Grading, Project Collaboration and Management, Digital and Print Campaigns

Website: derekahlbergdigital.com

Instagram: @derekahlbergdigital

LinkedIn: linkedin.com/in/derek-ahlberg