Meet the Jury

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

I studied photography at university, so I knew the area I wanted to be involved in, but we only briefly covered retouching at the time. After university I did some work experience at a photo processor - developing negatives and photographs in the darkroom, removing colour casts, dodging and burning. It was fascinating doing things the manual way, and I always enjoyed experimenting in the darkroom.

Further down the line, I asked a talented photographer friend to teach me how to retouch. I'd go a few times a week for lessons, which really helped me build confidence and a solid foundation. It was after that I managed to get my first retouching role.

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

Ten years now, most of which has been freelance. I love the variation that comes with freelancing - every job has its own unique challenges, and I'm a problem solver at heart, so those challenges are exactly what I'm there for.

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

Working through challenges as a team. I genuinely enjoy collaborating and trying ideas that get shaped further by working with others. Trying new things, even ones I initially thought weren't possible, has led to some of my best learning - sometimes you surprise yourself, and those moments are where real growth happens.

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

This is the first competition of its kind, so I think it's great that this area of creativity is finally getting some recognition. It's also a wonderful opportunity to see all the talent that's out there.

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

Attention to detail. If something is going to be blown up on a poster, or even just appear in a magazine rather than on screen, the level of scrutiny is magnified - so you need to make sure things are pixel perfect. There's nowhere to hide.

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

Layer structure, and whether a non-destructive workflow is already in place. Once that's sorted, I get into the aesthetics of the work.

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

Working methodically and setting up detailed actions really helps, and it's aided enormously by having a clearly laid out brief. Having more people look at things matters too - different people notice different things, and often a post-production manager or another team member will QC the work with fresh eyes.

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

Particularly as a freelancer, you're juggling many hats. You need to be able to communicate, set boundaries, and lay down clear expectations. Problem solving is key - overcoming hurdles, but also working out what the client actually wants, which sometimes requires its own kind of translation.

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

Understanding and respect for the skill itself. Creativity is implicitly human and personal, and I think that's something easily forgotten right now.

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

Working methodically, and understanding how to keep your file structure tidy. Making your workflow run smoothly really pays off in the long run - it's one of those things that feels unglamorous early on but saves you constantly later.

What truly separates a good retoucher from a great one?

Knowing what to keep, and knowing when to stop. The subtle quality I see consistently in great retouchers is the ability to make things look completely natural - you should be able to look at an image and just see a great image, with no indication of what was actually changed.

Is invisible retouching more difficult than visible transformation?

I think both have their own difficulties. To create an intentionally visible transformation, it needs to look exactly that - intentional, not like a mistake. For invisible retouching, the image needs to look completely natural, like it hasn't been touched at all, which comes with its own quiet set of challenges.

A final note from us

Jamie's career is proof that great retouching is as much about restraint as it is about skill - knowing precisely how far to take an image, and when to stop. His path from Dublin's darkrooms to running his own studio in Los Angeles brings a depth of perspective that spans both the analog and digital eras of this craft, and that range is exactly what makes his voice on this jury so valuable.

We are honoured to welcome Jamie Saunders Madden as a member of the jury for Retoucher of the Year.

What should participants focus on if they want to stand out in this competition?

Be selective. And what makes a submission feel truly premium? Visually seamless work, made with clear intention.

A final note from us

What stands out most about Sarah is her instinct for restraint - a quality that's surprisingly rare and genuinely hard to teach. Her belief that knowing when to stop is just as important as knowing what to do reflects a kind of maturity that only comes from years of careful, considered practice. We're glad to have that sensibility represented on this jury.

We are so pleased to welcome Sarah Walker as a member of the jury for Retoucher of the Year.

About Sarah Walker

Country: United Kingdom

Years in the Industry: 10+

Primary Specialization: Fashion, Beauty, Luxury Lifestyle

Main Expertise: Lookbooks, Campaign Images, Compositing, 3D Render Integration, Workflow Management

Website: sj-walker.com

LinkedIn: linkedin.com/in/sj-walker