Meet the Jury

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

That's probably the toughest question to answer because my start was a mix of curiosity and coincidence. I was a media student with a very broad focus, doing well in many areas but searching for that one thing. While I spent a lot of time in the photo studio, I eventually realized that my heart wasn't necessarily behind the lens — it was in what happened after the shutter clicked.

A real turning point was meeting Stefan Kohler and Conny Wallstrom. Having industry insiders of that calibre recognize my potential and tell me I could be the next big retoucher gave me the conviction I needed to fully commit.

I even took a deep dive into the ethics of our craft for my thesis, researching how retouching labels and image perception affect female body image. It gave me a sociopsychological perspective on the industry that goes far beyond just moving pixels.

What's kept me here is a mix of personal drive and the constant need to adapt. Early on, it was all about outdoing myself — trying to build a portfolio I was genuinely proud of. As my career progressed, my focus naturally expanded. It became about more than just the final image. Whether it's optimizing business workflows or navigating the current shift into AI, there's always something new to master. That constant need to keep learning and evolving is exactly what has kept me motivated after all these years.

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

My journey started with a solid foundation in press and agency workflows, which fundamentally shaped how I approach the craft today. For most of my career I've operated as an independent senior retoucher - nine years now. Along the way I've had the privilege of learning from some incredibly talented people whose insights helped me refine my workflow and master the techniques that define my style.

Currently I'm in a phase where I deeply value that autonomy and the trust of my long-term clients. It allows me to stay adaptable and focus on the unique creative demands of every single project I take on.

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

My standards were really forged by some of the more demanding clients I've had, as well as photographers and senior retouchers who acted like mentors. They didn't just give me work - they gave me insights into their specific workflows and high-level standards.

I believe that early phase of learning to operate under someone else's rigid rules is vital. It's how you build the foundation that eventually allows you to synthesize all those different experiences into a workflow of your own that goes beyond the basics.

I also think it's crucial to deeply immerse yourself in specific image categories. You have to live the genre to develop the kind of intuition needed for independent thinking. Today, that depth allows me to go that extra step for my clients - often identifying what an image or a series needs before they even ask.

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

When I first started out, retouching was a bit of a solitary journey. You rarely saw the full scope of what other artists were capable of because there wasn't a public stage for it. That's why I was so excited to join this jury. Retoucher of the Year creates a space where excellence becomes visible. By bringing the best artists together, we're not just awarding a title - we're creating a collective drive that pushes passion and the level of the craft forward for everyone involved.

What is one insight you wish more retouchers understood early in their career, and what really determines whether someone builds a sustainable career?

The one thing I wish more retouchers understood is that you have to master your craft before you enter the market — and then enter it with professional rates. I often see artists jumping in too early, which leads to inconsistent quality and, unfortunately, undercutting the industry's value with low fees.

Real mastery means putting in the reps — editing hundreds of images and investing thousands of hours into practice, whether that's on your own shots or files provided by photographers for learning. I know that sounds like a grueling process, but it's the only way to protect your reputation. In this business, word of mouth is everything. If you deliver subpar work early on, you risk burning bridges before your career even has a chance to take off. It's about playing the long game and respecting the craft enough to wait until you're truly ready.

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

What this industry needs right now is a renewed respect for high-end photography. One major gap people overlook is material integrity. AI tends to apply a uniform lighting pass across the entire frame - and that's it. In contrast, professional photography is the art of lighting for texture: understanding that polished metal requires a completely different logic than glass, skin, or matte surfaces, all meticulously brought together in a composite. AI simply lacks that physical understanding, which often results in flat textures and that uncanny feel.

No matter how advanced upscalers become, they still can't replicate the raw depth of a Phase One file. And to make an AI-generated image truly shine, you need a retoucher's eye to fix the glitches and seamlessly blend in real-world photographic elements.

We also need to bust the myth that AI always equals cost savings. Sometimes the heavy lifting required to rescue a poor AI series ends up being more expensive than a well-organized, traditional shoot would have been in the first place.

A final note from us

Mareike is exactly the kind of voice this jury needs - someone who has thought deeply not just about the craft itself, but about the business, the ethics, and the future of retouching. Her insistence on mastery before market entry, and her clear-eyed view of what AI can and cannot do, bring a rigour and strategic perspective that will serve this competition well.

We are very glad to welcome Mareike Keicher as a member of the jury for Retoucher of the Year.

About Mareike Keicher

Country: Germany

Years in the Industry: 9

Primary Specialization: Beauty, Product, and Luxury Goods Retouching

Main Expertise: Non-Destructive Workflow, AI-Integrated Post-Production, High-End Product and Beauty Retouching

Website: mk-retouching.com

Instagram: @mareikekeicher