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Redirect the Viewer's Eye: A Beauty Retouching Workflow That Actually Works
Video Tutorials

Redirect the Viewer's Eye: A Beauty Retouching Workflow That Actually Works

There’s a specific failure mode I see constantly in beauty edits, including some of my own early ones. The retoucher fixes everything they were asked to fix, the skin looks clean, the colors are balanced, and yet something about the image feels off. The viewer’s eye wanders to the wrong place. That’s not a technical problem. It’s a compositional one, and no amount of frequency separation will solve it. What solves it is learning to think about visual weight and flow after the camera has already captured the shot.

How to Slim and Contour Bodies in Photoshop Using the Warp Tool (Without Making It Obvious)
Video Tutorials

How to Slim and Contour Bodies in Photoshop Using the Warp Tool (Without Making It Obvious)

There’s a specific kind of client photo that used to tie my stomach in knots. You know the one: a genuinely beautiful image, great light, good connection, but the angle or the pose has added visual weight in a way that doesn’t reflect how the person actually looks. Early in my retouching career, I’d reach straight for Liquify, push pixels around trying to be careful, and end up with something that looked either untouched or obviously warped.

Light in Layers: How Karl Taylor's Live Beauty Shoot Cracked My Lighting Logic
Video Tutorials

Light in Layers: How Karl Taylor's Live Beauty Shoot Cracked My Lighting Logic

There’s a gap that most retouchers know intimately, even if we don’t talk about it out loud. We can fix almost anything in post. But when the light in the original image is genuinely good, the retouch work shrinks to almost nothing. The skin holds its texture. The shadows fall where they should. The whole edit takes a fraction of the time. That’s why I keep circling back to lighting education, even though my day job is retouching rather than shooting.

Camera Raw to Photoshop: A Portrait Retoucher's Walkthrough of Skin and Color Editing
Video Tutorials

Camera Raw to Photoshop: A Portrait Retoucher's Walkthrough of Skin and Color Editing

There is a specific kind of dread that comes from opening a portrait you shot on a busy studio day, knowing the background color is wrong and the skin tones are flat, and feeling like you have to fix all of it before the client follows up. I used to burn hours in Photoshop trying to rescue images that could have been shaped in two minutes inside Camera Raw first. That single shift in workflow order changed how fast I work and, honestly, how much I enjoy retouching.

From Over-Edited to Intentional: How Jessica Kobeissi Retouches Her Old Photos (And What It Teaches Us About Growth)
Video Tutorials

From Over-Edited to Intentional: How Jessica Kobeissi Retouches Her Old Photos (And What It Teaches Us About Growth)

I still have my first retouching attempt saved on an old hard drive somewhere. It looked like someone had ironed the skin flat, cranked the saturation up to a setting I’d now describe as “fever dream,” and then added a glow filter just to make sure nobody could identify the original human underneath. I keep it around on purpose. It’s a useful reminder that craft takes time, and that looking back at old work with honest eyes is one of the fastest ways to figure out where you’ve actually grown.

Should You Outsource Your Photo Retouching? Here's How One Working Photographer Decides
Video Tutorials

Should You Outsource Your Photo Retouching? Here's How One Working Photographer Decides

There is a question I used to avoid answering honestly: do you do your own retouching? For a long time I said yes, even when the answer was “sort of, badly, and it takes me four times longer than it should.” It was only after burning out on trying to be everything to every client that I started getting real about where my skills actually live. I can shape light. I can read a face.

How to Retouch a Whole Batch of Portrait Images at Once (Without Losing Your Mind)
Video Tutorials

How to Retouch a Whole Batch of Portrait Images at Once (Without Losing Your Mind)

There is a specific kind of dread that comes from finishing a wedding gallery, sending it off, and then realizing you forgot to add a key line to every single image. Or that the skin smoothing you applied so carefully to the hero shot looks nothing like what you did to the rest of the series. I lived that dread more times than I care to admit before I started treating multi-image retouching as a real, deliberate workflow instead of just “doing it again for each photo.

Why Hair Retouching Breaks Most Retouchers (And the Workflow That Finally Fixed It for Me)
Hair Retouching

Why Hair Retouching Breaks Most Retouchers (And the Workflow That Finally Fixed It for Me)

The first time a client told me my retouching looked “plastic,” I was mortified. I had spent three hours on a beauty shot, smoothing skin, evening out tone, cleaning up the background. The image looked pristine. It also looked completely fake. What I hadn’t touched was the hair, and in hindsight, that’s exactly why everything else fell apart. Hair that hasn’t been thoughtfully edited reads as an afterthought next to an over-processed face.

Two Techniques That Changed How I Retouch Skin (A Breakdown of Joel Grimes' Frequency Separation and Dodge & Burn Method)
Video Tutorials

Two Techniques That Changed How I Retouch Skin (A Breakdown of Joel Grimes' Frequency Separation and Dodge & Burn Method)

There’s a specific kind of client feedback that stays with you. Mine came early in my retouching career, when someone told me my skin edits looked “like plastic.” She wasn’t wrong. I’d been over-smoothing, chasing perfection in all the wrong ways, and the results looked like my subjects had been wrapped in cellophane. That comment sent me down a long road of studying how professional retouchers actually work, and one of the techniques that genuinely changed my approach was watching Joel Grimes demonstrate his skin retouching workflow in a CreativeLive session.

Frequency Separation in Photoshop: A Step-by-Step Guide to Skin Retouching That Actually Looks Real
Video Tutorials

Frequency Separation in Photoshop: A Step-by-Step Guide to Skin Retouching That Actually Looks Real

I spent the better part of a year convinced that good retouching meant smoothing everything until the skin looked like poured wax. A client finally told me my edits looked “plastic,” and honestly, she was right. What I was missing was a way to work on color and texture as two separate problems, because they are. Uneven skin tone is a color problem. A rough patch of texture is a texture problem.

Wacom Intuos Pro Small vs. Medium: Which Tablet Size Actually Works for Retouching?
Video Tutorials

Wacom Intuos Pro Small vs. Medium: Which Tablet Size Actually Works for Retouching?

For years I dragged a tablet around that was technically the right tool but practically a nightmare to travel with. I teach retouching workshops, and every time I packed for a trip, my old Wacom Intuos Pro Medium took up half my bag, leaving me playing Tetris with my laptop and cables before every flight out of Portland. So when I came across this Visual Education tutorial comparing the new Intuos Pro Medium and Small, I watched it twice.

Two Lights, One Setup: How Karl Taylor Builds Airy Beauty Shadows That Don't Go Dark
Video Tutorials

Two Lights, One Setup: How Karl Taylor Builds Airy Beauty Shadows That Don't Go Dark

There’s a specific problem I run into constantly when I’m retouching beauty work: the shadows look either completely flat or oppressively dark, and neither one feels right. Flat shadows make skin look two-dimensional, which means I end up doing twice the work in post trying to sculpt cheekbones and collarbones that should have been lit properly on set. Dense black shadows swing to the other extreme, giving the whole image a dramatic, almost harsh energy that doesn’t match the soft, polished aesthetic most beauty clients want.