Design View with… Retoucher of the Year founder Tímea Buknicz
Almost every commercial image created today passes through post-production, yet the discipline itself rarely receives the visibility, recognition, or financial valuation it deserves. Retouchers remain the ‘unseen hands’ behind high-profile global campaigns, navigating an industry long troubled by inconsistent crediting and a historical association with visual manipulation rather than creative craftsmanship.
But now, global awards platform Retoucher of the Year has launched to challenge that status quo. We speak with founder Tímea Buknicz about why post-production needs dedicated recognition, how the initiative approaches generative AI, and why transparent workflows are essential to celebrating genuine talent.
The Vision & Origin Story
What was the initial catalyst behind launching the Retoucher of the Year Awards? What made you feel now was the right time to build a platform like this?
Buknicz: Almost every image undergoes some form of post-production, yet post-production itself rarely receives the visibility, recognition, or financial value it deserves as a creative discipline. Whether it is proper credit or fair compensation, retouchers are often underappreciated. For a long time, I knew I wanted to give something back to the industry that had shaped my own career.
From around 2022, I watched the creative industry change at an incredible pace. I spent months exploring ideas for an educational platform focused on professional workflows, raising awareness about giving proper credit to the entire creative team, and helping creatives better understand image usage. Then, one evening in the winter of 2023, the idea for Retoucher of the Year came to me.
People often assume AI was the catalyst, but it was not. AI reinforced my feeling that someone needed to step up because I did not like the direction the industry was heading in, but the real catalyst was a combination of the right timing, the right collaborators, and my own readiness to bring the vision to life. By the time we were ready to build it, the industry felt ready for it too. More people are beginning to recognise that we need something to bring us together, to celebrate our craft, strengthen the profession, and give creatives confidence that there is still a future worth building.
Retouchers are famously the ‘unseen hands’ behind iconic commercial imagery. Why has post-production historically lacked dedicated recognition compared to photography or art direction?
Buknicz: There is no single answer, but we first need to distinguish between two scenarios: when a photographer retouches their own work, and when post-production is outsourced to a professional retoucher.
When photographers retouch their own work, many see it as a natural extension of the shooting process, the final step in bringing their vision to life rather than a standalone discipline. Interestingly, they will often credit themselves separately as the art director, but rarely as the retoucher. When retouching is outsourced, entire crews are routinely credited on large productions, yet the person shaping the final image is frequently left off the list.
Historically, retouching was treated as something that should remain invisible because brands did not want the public to see how dramatically images were altered. It became associated with deception rather than craftsmanship, and that perception still influences how the profession is viewed today. Understanding those underlying reasons is the first step towards changing the culture.
How did you decide on the specific competition categories?
Buknicz: For this first edition, we focused on five core categories: Product, Beauty, Fashion, Composite, and Colour Grading. Choosing them was not about determining what was most important, but about deciding where to begin.
Product, Beauty, and Fashion were straightforward because they are the areas most people associate with commercial post-production. The other two categories broaden that definition:
- The Luminist category: Focuses on colour grading rather than pixel-level manipulation and is restricted to Lightroom and Capture One. It reinforces that exceptional imagery is defined by the quality of creative decisions, not how heavily an image is altered.
- The Alchemist composite category: Acts as a bridge between retouchers and designers. Key Art and Composite artists often view themselves as designers, but their work is a vital component of post-production.
The Format & Mission
Unlike standard portfolio competitions, participants work from standardised briefs and RAW assets. Why was creating this level playing field so central to your ethos?
Buknicz: Most retouching awards are portfolio competitions. They celebrate beautiful finished imagery, but those images are the result of an entire production team, making it difficult to isolate the retoucher’s individual contribution.
By providing every participant with the same RAW files and creative brief, everyone starts on equal ground. We are no longer comparing different photographers, production budgets, or client opportunities; we are comparing how different artists interpret and execute identical challenges.
A portfolio often reflects the access and opportunities an artist has had as much as their raw technical ability. We wanted success in Retoucher of the Year to depend purely on creative vision and technical skill.
You have taken a global approach across multiple regions and economic tiers. How crucial was accessibility when designing the competition structure?
Buknicz: Accessibility was a foundational requirement. We introduced regional competitions, country-based entry fees across three pricing tiers, and a Patron Programme where governments, creative agencies, and industry partners can sponsor entries for local artists who might otherwise lack the financial means to enter.
Accessibility is also about recognition. Regional awards give talented creatives visibility within their local markets while establishing a clear pathway to international recognition.
What has been the biggest challenge in building an international awards program from scratch?
Buknicz: Building Retoucher of the Year has been demanding, but the hardest part was not building the platform, it was stepping into the role capable of delivering it.
It is always challenging to build belief in something that does not yet exist. People readily support established successes, but finding partners willing to stand behind an unproven vision requires patience. Moving beyond my comfortable behind-the-scenes role was a major personal step, and I hope the wider industry now stands behind it by entering, sharing the message, or partnering with us.
Why was it so important to involve photographers via the Open Call in creating the official competition images?
Buknicz: Commissioning a handful of photographers would have been easier, but we would have missed a major opportunity to build awareness across the photography community. The Photographer Open Call became a natural way to introduce the competition and its wider mission.
Having a series selected as an official competition asset is very different from a standard publication feature. It becomes part of the entire narrative of that edition, from the initial announcement and interviews to being the face of the registration campaign. Every entrant who retouches those images shares their work while crediting the full creative team, generating ongoing exposure throughout the life of the awards.
The Big Picture & AI
We are seeing rapid changes in post-production with generative AI tools. How do you see these awards shaping the narrative around human craftsmanship versus automation?
Buknicz: Awards shape industry culture by reinforcing the behaviours and standards we want to preserve. Through Retoucher of the Year, we want to encourage deliberate, thoughtful image creation from the ground up.
Generative tools are explicitly prohibited within the competition. We evaluate not only the final output, but the complete workflow behind it through mandatory PSD submissions and process reviews. As automated tools evolve, emerging artists must understand that foundational skills cannot be bypassed.
For established retouchers, the platform validates the years invested in perfecting their craft. When an industry actively celebrates expertise, businesses continue to invest in human talent.
What do you hope placing in the Regional Top 50 or winning a title will do for an artist’s career?
Buknicz: Awards shift perception. Winning an established industry title immediately signals excellence and builds client trust.
Many retouchers operate locally, and many agencies prefer to hire local talent. We want the Regional Top 50 to serve as an authoritative directory where art directors and buyers can source verified talent whose abilities have been independently vetted by leading industry professionals. By celebrating 200 artists globally across four regions in addition to category winners, we ensure recognition extends deep into the creative community.
If you could clone-stamp out one common industry misconception about what retouchers actually do, what would it be?
Buknicz: That we are magicians who should fix everything. Retouching is not about rescuing poor planning or replacing good production. Great retouching enhances a strong image; it does not replace the craftsmanship that should happen before the shutter is pressed.
Quick-Fire Round
- One word to describe the level of talent you are seeing across the entries so far?
Well, having professionally stalked every entrant by now, I know the calibre. I did not want to discourage anyone, but honestly? Extraordinary. - Your go-to soundtrack or podcast when in deep work mode?
Silence. - Your single most used Photoshop tool or keyboard shortcut?
⌘ + S. I do not have Time Machine. - In 10 words or fewer, why should a retoucher enter this year?
Do not be the person saying, “I could have won.” Enter now.
About Retoucher of the Year
Retoucher of the Year is an international competition dedicated to celebrating commercial post-production, advocating for transparent crediting, and preserving human craftsmanship. To view category guidelines, examine the standardised briefs, or register for the current edition, visit retoucheroftheyear.com.