Meet the Jury

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

I discovered something a long time ago - the creative power of assembling pieces of different photographs to tell a story. I have never really stopped doing it since. For me, retouching is storytelling. It's the idea that a kind of perfection could exist, and that I get to be the one who finds it inside an image.

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

I started 15 years ago, coming from a background in graphic design. I built my skills slowly and patiently - there was no shortcut, and I don't think I would have wanted one. Now I'm at a point in my career where I feel genuinely aligned with the work I do. I'm confident that almost anything is possible, even when I don't yet know exactly how to do it. That feeling took a long time to arrive, and I value it.

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

Working extensively with beauty brands - perfume, cosmetics, luxury goods. What I love about that world is how seriously they take the power of a visual. There is no room for almost right. That expectation has pushed me to be more precise, more considered, and more rigorous in everything I do.

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

We are good when our work remains invisible. That's the nature of what we do - and it's also precisely why an event like this one matters so much. For the first time, a light is being put on this work rather than away from it. I love the idea of showing people what we actually do, and letting them see the skill and intention behind images they have looked at without ever knowing we were there.

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

After 15 years as a freelancer, what I have learned is this: you become better when you truly understand the client you are working for, and when you make everything possible to make their stress disappear. That means paying close attention to detail so you avoid unnecessary revision rounds. It means being reachable - by email, by phone - throughout the process. It means respecting the deadline you agreed to, no matter what. Be the person they can count on. That is not a small thing. In this industry, it is everything.

Should a retoucher develop a recognisable visual signature, or stay adaptable?

I have survived 15 years in this industry by being invisible and adaptable - like a chameleon. That is one answer. But I also think the nature of our work gives us a strong aesthetic identity over time, whether we try to build one or not. Clients tend to return to whoever has done that type of work before, which naturally specializes you. A very strong personal style can become a limitation if it competes with the client's own identity - and that identity, combined with the photographer's vision, is usually already enough personal implication for one project.

How should personal taste be balanced with serving the photographer's vision?

I see myself as a craftsman serving a project that is not mine. I bring everything I have - my skills, my knowledge, my eye - to realize the photographer's idea as fully as possible. I can offer a perspective when I think it's relevant. But ultimately, it is the photographer who decides. That's not a constraint. It's the nature of the collaboration.

What truly separates a good retoucher from a great one?

Commitment. Full stop. And when I think about what greatness actually looks like in practice - maybe it's simply this: you become great when you deeply love what you do and want to do it better every single day. The retouchers I most admire are not necessarily the most technically advanced. They are the ones who bring empathy and kindness to the work, and who never stop caring about the result.

What creates repeat clients and long-term trust?

Communication from the very beginning - and following through on everything that has been agreed. What is said must be done. Trust is built through sincerity and transparency. Consistency is the foundation of what we offer. Creativity is the bonus that sometimes follows when there is space for it.

What should competition participants focus on to stand out?

Details. That is where the real level of a retoucher lives - not in the broad strokes, but in the things most people wouldn't even think to look for. And what makes a submission feel truly premium? Harmony. When everything in the image feels like it belongs there, and nothing feels forced or added - that's when you know.

A final note from us

Yann-Yves has a way of talking about retouching that feels almost philosophical - and we mean that as the highest compliment. His understanding of commitment, of service, of the quiet craft that goes into making something look effortless, is exactly the kind of perspective that elevates a jury. We are glad to have someone who thinks this deeply about the work sitting at the table.

We are very proud to welcome Yann-Yves Segura as a member of the jury for Retoucher of the Year.

About Yann-Yves Segura

Country: France

Years in the Industry: 15

Primary Specialization: Still Life

Main Expertise: Composite, Photomontage, Chromie

Website: whywhy.fr

LinkedIn: linkedin.com/in/yysegura