My approach to retouching is always client-led, built on care, trust, and open, friendly communication.

Every client is different, and through understanding your past work and openly discussing any references or ideas you share, I work to realise your vision in a way that feels considered, consistent, and true to the work itself.

My feeling is that a good retoucher should be largely invisible, supporting the image and the photographer’s voice, rather than imposing themselves upon it. Building relationships with clients is really important to me, I want to make the process as seamless and straightforward for you as possible.

The same approach applies to colour grading. I adapt my skill set to help develop a grade that fits both your style and the brief for the project. Communication is central to this process: discussing what you’re trying to express through the work, what each image needs to achieve, and carefully studying any references you provide all play an important role.

Providing visual references is especially helpful. The closer they are to your own work — in terms of location (studio or on location), subject matter, and lighting (natural light or studio flash) the easier it is to refine the grade to match what you’re looking for.

Typically, I’ll grade one or two images first. Once the look is agreed and signed off, I’ll apply that grade consistently across the remaining images.

Every project is unique, and together we can figure out what works for you. Generally I charge either by the hour, or by the image. 

Please feel free to get in touch to discuss rates. If you can share a little information — such as the number of images, when high-resolution files and a brief will be available, and the turnaround you’re working to — I’ll be able to give you an estimate.

Alternatively, if you already have a budget in mind, I can outline what’s achievable within it.

This can always be agreed in advance, in a way that suits your timeline and budget.

As a general guide, I usually suggest allowing more time for the first round, as this is where most of the retouching tends to take place.

Your work will always be retouched by me alone, which means consistency, care, and a direct line of communication from start to finish. Nothing is outsourced, and every image is handled with the same attention and sensitivity. 

The only exception would be if we discuss in advance the need to involve another retoucher to meet a tight deadline for a large volume of images. I would of course organise and oversee this.

Occasionally, where it meaningfully improves efficiency, and if agreed upon beforehand, I can use Gen AI for things such as complex extensions or composites where plates aren’t available. I use Adobe’s Firefly models, which are trained on licensed and public-domain content, according to Adobe. These outputs are safe to use for commercial purposes.

I also can work with you to develop imagery using generative ai, whether that is creating elements to add to a photograph, correcting errors or abnormalities in a generative ai image, or compositing generated elements into an image. 

Generative AI is a powerful tool, and with it a lot can be achieved, however it isn’t perfect, and a keen eye and sparing hand is needed when it's used. When working with me, it will never be used for things like cosmetic retouching, automating the process of retouching, or any intervention that misrepresents the subject.

Raws, EIP files, Tiffs or PSD/PSB files are all acceptable. 

A brief, either as an annotated jpeg, a pdf with instructions, or just a description of what is required would also be needed.

Of course! I’ve always loved working on images shot on film. I’m passionate about working with the tonal subtleties, and character that make film images unique, while preserving its grain and integrity.

Unless otherwise requested, I keep a back up of simple layered versions of files indefinitely, in case you need them in the future. These are never shared with others, unless directly requested by yourself.

I’m based in the UK. After working in London for the first 10 years of my career, I now work remotely from my studio in Cornwall, which means I can work remotely with clients in the UK and internationally, while maintaining a responsive and collaborative workflow.