Meet the Jury

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

I got into retouching through my interest in photography. I started shooting for fun and was part of a great photo community in Seattle during the Flickr days. I always loved the editing process, especially making digital files look like film.

Later I began assisting a well-known, design-driven photographer. I had never heard the term "retoucher" until I worked on a shoot with them and saw someone on the call sheet with that title - shout out to Janko Williams, one of the best in the industry and one of the kindest people you'll ever meet! I looked at his website, which featured before and after work, and I was blown away.

About a month later I saw him at a party and told him I was interested in learning retouching. He recommended a book and became a mentor to me. I practiced what I was learning and eventually landed a job at a retouching house, masking for senior retouchers. They saw how eager I was to learn and offered me a two-year apprenticeship.

I find the work very fulfilling and truly enjoyable, which has kept me going.

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

I've been working in the industry as a retoucher for 16 years. I also count the years prior to my apprenticeship, since I was already using my skills to build a freelance client base within the design world.

Currently, I am full-time freelance and have been busy enough to bring on other retouchers to assist me. I'm also in the process of returning to shooting still life so I can showcase my skill set and help educate clients on what's possible through before and afters. At the same time, I'm beginning to shift away from working solely under my own name and am developing Studio Mìks — pronounced "Meeks," a nickname from old friends. I'm also interested in moving into coaching and mentoring other retouchers.

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

I always say that my apprenticeship was the best thing to ever happen to me. I'm a proud journeyman retoucher! It took place at a retouching house that specialized in print, and the training was comprehensive.

I honestly believe I wouldn't be where I am today without it. It taught me preflight color conversions, working in CMYK, building complex actions, and most importantly, file structure and non-destructive retouching. They had a very specific masking structure, and I spent months masking model contours before I was even allowed to try hair — which is probably why I'm such a stickler about masking today.

I remember having to print out actions in text form and going line by line to document what each step was doing. It was intense and highly technical, and sometimes it took time to wrap my head around what I was learning, like blend-if sliders and unplugging color. But that structure shaped my standards.

I should also say that I was very fortunate that my first in-house job was with a large group of people who were so willing to share knowledge and collaborate.

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

I truly care about this industry. It has given me so much in life and a career I'm proud of. I don't see retouching as just a service but rather a vital part of the photographic process, just like a stylist, grip, makeup artist, and so on. It's a skill that takes years to master, both creatively and technically.

I've long been an advocate for raising awareness around retouching and why we deserve the same professional courtesies as others involved in image making. I initially planned to enter the competition, but after giving it more thought, I realized I could contribute more meaningfully as a judge. I genuinely enjoy coaching others and seeing them succeed - which isn't always common in our industry - and I'm excited to see where this opportunity leads.

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

The amount of detail and thought that goes into each image, and how that vision is communicated. On major campaigns there are more people involved, more approvals, and a higher level of scrutiny, so consistency, structure, and clarity become especially important. There is also a heightened awareness that when there is an action, there is a reaction — and a constant need to anticipate the client's needs.

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

Whether it's in the appropriate color space and resolution. It blows my mind how often I receive files in the sRGB colorspace. I often find myself explaining the importance of a proper color space workflow - from the very start of a project all the way through exporting for review and final deliverables.

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

I'll usually screenshot the markups or notes and bring them directly into my working file, then check each one off as I go. Once I've completed that round, I reread every note and mentally confirm that it's been addressed.

When I'm QC'ing, I'll use different curve adjustments to ensure there are no bad masks, banding, or any cleanup I may have missed. And honestly, stepping away from the image for a bit and coming back with fresh eyes is incredibly helpful. It's often in that second look that you catch what you couldn't see before.

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

Networking and having a good online portfolio are huge. I'd also say good communication skills and flexibility go a long way, since timelines often shift and project scopes are always changing.

This industry can be isolating, so having a solid network of other retouchers you can confidently consult with when it comes to navigating client relations or problem-solving workflow is incredibly valuable.

And just as important is standing your ground respectfully — especially when it comes to quoting projects and educating clients on why the cost is what it is. I know it's difficult for a lot of retouchers right now, but consistently undercutting and taking on projects for next to nothing ultimately hurts all of us. Sustainable careers require sustainable pricing.

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

Support from other creatives! I understand there's an old-school way of thinking when it comes to crediting retouchers, but times are evolving. It's disheartening when everyone on a shoot receives credit except the retoucher.

The retoucher, who has spent years perfecting their craft, is the one who ultimately brings the vision to life and executes what couldn't be achieved on set — often for reasons outside anyone's control. When retouchers aren't credited, it impacts our businesses, and honestly, it affects us on a personal level as well.

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

A few! The importance of solid file structure and proper masking. Knowing what questions to ask before agreeing to a project. Learning how to truly collaborate and receive constructive feedback.

At one point, I was guilty of letting my ego get in the way and taking things personally. When I reflect on that time, I realize how much I did learn - but more importantly, how much more I could have learned if I hadn't held myself back in that way.

This work is subjective. Most of the time, you're not doing anything "wrong" - someone just wants it executed a different way. And that's valuable. That's where growth happens.

Final note from us

Tomika brings something rare to the Retoucher of the Year jury: a perspective shaped not just by years of craft, but by a genuine, ongoing commitment to the people in this industry. From the apprenticeship that made her who she is, to the community she's building through Studio Mìks, everything she does reflects a deep belief that retouching deserves recognition, fair pay, and the kind of mentorship she was lucky enough to receive early on.

We are proud to have her on the panel, and grateful she is putting that energy to work here.

About Tomika Davis

Country: United States

Years in the Industry: 16

Primary Specialization: High-End Retouching

Main Expertise: Beauty, Product, Lifestyle, Editorial, Color Management, Non-Destructive Workflow, Compositing

Website: www.tomikadavis.com

Instagram: @tomikadavis

LinkedIn: linkedin.com/in/tomika-davis