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

I’m Victoria, I’m 36, and I live in Ukraine.

I started out in law, but at 23 I bought my first “grown-up” camera, and photography quietly took over my life. In 2022, I made the leap to full-time retouching, and I haven’t looked back. Today, I work on food and product images, and I still get a little thrill every time a photo goes from good to great.

How would you describe your retouching style?

I’m rather a conservative retoucher. I believe in the power of clean Pen Tool selections as an investment in faster, higher-quality work down the line. I love working with colour, and I’m convinced that colour correction delivers about 70% of the final result.

What made you decide to enter Retoucher of the Year?

I wanted to test myself. This competition is a chance to see whether I’m heading in the right direction and how I can improve my work. Getting an outside perspective from professionals is a wonderful opportunity that’s hard to find any other way.

What does winning validate for you today?

Definitely, my belief in my own work. It’s not me, it’s my imposter syndrome talking!

Just kidding. Mostly.

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

I have to give credit to the level of organisation behind this competition. I felt I simply had to take part, both to support it and to show that competitions like this are in demand, which means our profession is, too.

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

My very first thought is: what did the photographer want to show in this shot?

My very first step is to duplicate the original layer a few times. Retouching must be non-destructive, with the ability to roll back any change. For me, that’s an axiom.

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

When people ask what I do and I say “retoucher,” most have no idea what I mean.

But that’s not what matters to me. I sincerely love my profession, regardless of how well-known it is.

Still, I think this competition will noticeably raise awareness of the word “retoucher.”

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

Communication. Even more of it, and without the fear of competition.

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

Perseverance and a trained eye. Sitting with a task until it’s right, and looking at a lot of good work until you can tell exactly why it’s good.

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

I’m simply glad that a competition like this exists. For me personally, it’s a chance to feel alive and step away from reality, whatever is happening around me. My placement doesn’t matter. What matters is the recognition of the profession.

A final note from us

Victoria’s answers reveal a retoucher who values care and intention at every stage of the process: understanding what the photographer wants to show, building a non-destructive workflow, and taking the time to get the details right. Her belief in colour correction, her practical approach to the Pen Tool, and her call for more open communication all speak to the craft and community behind retouching.

We’re pleased to welcome Victoria Stakh as a participant in Retoucher of the Year 2026.