Photo Editing Workflow

How Jessica Kobeissi Edits Golden Hour Portraits in Lightroom (And What I Stole From Her Workflow)
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How Jessica Kobeissi Edits Golden Hour Portraits in Lightroom (And What I Stole From Her Workflow)

There’s a particular problem I run into every time a client sends me portraits shot in that narrow window just before sunset. The light is gorgeous in person, but RAW files from that hour often come back looking flat, slightly orange in the wrong places, and missing the warmth that made everyone excited on location. Getting from “flat golden hour RAW” to “this actually looks the way it felt” is a workflow problem I’ve been refining for years.

When the Sky Does the Work: Lessons from a Burnt-Out Photographer That Every Retoucher Needs to Hear
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When the Sky Does the Work: Lessons from a Burnt-Out Photographer That Every Retoucher Needs to Hear

There’s a particular kind of tired that photographers know well. Not the good tired you feel after a long shoot where everything clicked. The other kind - the one where you’re staring at a Lightroom catalog at midnight and wondering why you started doing this at all. I ran headlong into that wall after my third consecutive 60-hour wedding weekend, and it was the moment I finally understood that how you approach a shoot changes everything that happens afterward in post.

How to Retouch Car Photos in Photoshop: A Workflow That Actually Works
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How to Retouch Car Photos in Photoshop: A Workflow That Actually Works

Most of my retouching work lives in skin texture and color grading, but the skills that make a portrait sing translate directly to product and automotive work. Clean surfaces. Controlled reflections. No distracting garbage pulling the eye away from the subject. When a photographer friend asked me to help clean up some studio car shots last year, I realized how much of what I do every day for beauty clients applies to shiny metal just as well as it applies to skin.

Before You Touch a Single Slider: What Professional Photo Editors Actually Look For
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Before You Touch a Single Slider: What Professional Photo Editors Actually Look For

There’s a skill that took me years to develop, and it has nothing to do with Photoshop. It’s knowing what to look at before you open a single panel. Early in my retouching career, I would dive straight into skin work, dodging and burning and smoothing, only to deliver a finished file and have a client point out that the framing was off, or that a distracting element was pulling the eye away from the subject.