Could you tell us a little about yourself and how you got into retouching?

I came to retouching through advertising and graphic design. I had always been interested in images and visual communication, but it was when I started working more closely with photography that I realised how much I enjoyed the process of refining an image.

I became increasingly interested in those small decisions that can completely change the way an image is perceived without making the intervention obvious. Over time, retouching became more than just a job for me. I genuinely enjoy the process of looking closely at an image, understanding what the photographer and creative team want to communicate, and finding the most precise way to achieve that result.

How would you describe your retouching style?

Refined, natural and detail-oriented. I like preserving texture and those small imperfections that make an image feel real. For me, refinement doesn't mean removing everything that isn't perfect, but rather understanding what contributes to the image and what is distracting from it.

That will definitely show in my competition image. Even when I'm given the freedom to experiment, my instinct is still to look for balance rather than excess.

What made you decide to enter Retoucher of the Year?

This year, I reached a point where I felt ready to put my work in a different context. I spend a lot of time focusing on the work itself - improving my skills, collaborating with great professionals and building my career more quietly. Entering the competition felt like a way to step outside of that routine and challenge myself creatively.

What does winning validate for you today?

It represents new opportunities. My confidence in my work comes from seeing how much I have grown over these seven years and how much care I put into what I create - to the point where I now feel confident enough to participate in a competition alongside great artists.

Winning would be meaningful as a way of recognising the value of my work and bringing visibility to an industry that normally stays behind the scenes.

When you open a source image for the first time, what do you look at first?

The image as a whole. Before thinking about skin, hair, colour or any specific retouching task, I try to understand what is already working in the photograph. I look at the light, composition, expression and overall intention. Then I start asking myself what is actually distracting from that - and that step is just as important as knowing what to retouch.

Retouching is often invisible work. How do you feel about that?

I like the fact that good retouching can be invisible. When the final image feels natural and effortless, it's a sign that the retouching has respected the photograph rather than taken over it.

At the same time, being invisible doesn't have to mean being unrecognised. There is a lot of creative thinking and technical knowledge behind an image that may look completely natural. The professionals doing this work deserve to be seen and properly credited - and in some cases, to have the opportunity to show how they achieved the final result.

What do you think the retouching community needs more of right now?

Openness and exchange. Retouching can sometimes feel like a very individual and competitive profession. We spend so much time working alone that it's easy to forget how valuable it can be to share knowledge, experiences, workflows and even mistakes and failures.

I would love to see more conversations about the creative side of retouching - not only about techniques and software, but about decision-making, visual judgment, collaboration and the role of the retoucher within a broader creative process.

Beyond technical skill, what really determines a lasting career in retouching?

Curiosity, consistency and the ability to communicate well. You need to keep learning, but you also need to understand people, listen to feedback and know how to translate someone else's vision into your own work.

Creative industries are built on relationships, and people remember not only the final image but also what it was like to work with you. For me, building a lasting career means combining a strong eye with professionalism, adaptability and genuine care for the work.

What made Retoucher of the Year feel like a competition worth entering?

Although I have been building my career in Brazil, I felt that this competition could help me connect with professionals from other countries. I also like the idea of seeing how other artists approach the same challenge. For me, that exchange is one of the most interesting parts of the whole experience.

When the competition is over, what would make you look back and feel that entering was worthwhile?

If I finish knowing that I created something that genuinely represents me, that alone will make it worthwhile. I want to look at the final image and feel that I made thoughtful choices, challenged myself creatively and stayed true to the way I approach retouching.

Of course, being recognised would be incredibly meaningful. But beyond the result, I would like to come away with a stronger sense of what I'm capable of - and a piece of work that I'm genuinely proud to have in my portfolio.

A final note from us

Caroline's answers reflect someone who has thought carefully about not just the craft but the meaning behind it. Her belief that being invisible doesn't have to mean being unrecognised sits right at the heart of why this competition exists, and her call for more openness and exchange in the retouching community is one we share entirely. We're very glad she decided to step out of her routine and enter.

We are thrilled to welcome Caroline Manchine as a participant in Retoucher of the Year 2026.