Meet the jury

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

Out of university, I wanted to be a photographer. So I interned for a creative agency to learn the craft. While I was there they asked if I wanted to learn retouching. They gave me a Nike photo to retouch which took me six hours to complete. Then the next week they sent me on my first live retouching job having only retouched one photo. I had to use what I learned from that image and faked my way to completing the job. That fire is where I fell in love with retouching and I haven't looked back since.

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

I have now been retouching for 12 years.

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

The kinds of projects that shape my standards the most are the ones that challenge a skillset that I am forced to build. Doing something I haven't done before, but having the expectation to get it done. I love being put into the fire with a lot on the line like that, although I know it's not for everyone. I love being forced to learn something quick and to have to execute it at a high level. Although this happens a lot less in my career these days, these were the projects that elevated my standards the most.

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

I wanted to be a part of Retoucher of the Year because I have spent most of my career feeling isolated - there is not a sense of community in the retouching industry. It seems like there are few of us compared to other jobs, and we work in silence and alone often. This is a great opportunity to not only meet other retouchers, but learn from each other, and build a lasting community to make this job a little less lonely.

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

In my experience, working on major campaigns tends to run more smoothly than when working on smaller projects. This is definitely not always the case, but when working with large clients, everyone on the project is usually top of their field and all have a mutual understanding of the cost of things, more realistic expectations, and clear creative direction. Everyone knows their role and how to execute.

Smaller projects tend to push harder to exceed expectations which can sometimes create an environment where there are unrealistic expectations, overretouching, and tons of review rounds. It can sometimes feel as though smaller projects are trying to squeeze every last ounce of work they can get from everyone involved.

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

When I open a file, I don't look for anything specific. My belief is that there are a million different ways to approach retouching. Everyone does it differently. Everyone uses different tools to accomplish the same thing. Everyone's journey through an image is different, and revelation can come at different times in the process. What I focus on when looking at a file is the finished product. I believe that's what truly matters. And the process that gets us there is unique to each of us.

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.

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

Beyond technical ability, retouchers need to be problem solvers and artists. I think that a blend of these three qualities can make a great retoucher. But when it comes to building a sustainable career, that takes hustle, confidence, and as much passion as you can muster.

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

Blending should be one of the very first skills new retouchers focus on perfecting. I see unblended work constantly - whether it's object removals, poor masking, or sloppy wrinkle removal - and it's an instant giveaway that an image has been retouched, and not well. A Wacom tablet helps enormously here too. My advice: if you look at your finished work and can spot those issues yourself, that's exactly where to direct your practice, so your retouching integrates into the image seamlessly rather than sitting on top of it.

A final note from us

Jorge's story is one that many retouchers will recognize - thrown into the deep end early, learning fast, and discovering a passion that has driven an entire career. What stands out most is his honesty about the isolation this industry can bring, and his genuine desire to change that. That drive to build community, combined with 12 years of hard-won expertise, makes him a valuable and grounded presence on this panel.

We are delighted to welcome Jorge Macias as a member of the jury for Retoucher of the Year.

About Jorge Macias

Country: United States

Years in the Industry: 12

Primary Specialization: Commercial, Lifestyle, and Fashion Retouching

Main Expertise: Color Grading, Composites, Product Color Changes, Extensions

Website: JorgeMacias.co

Instagram: @jorge.macias