Photographers capture their vision, creative directors witness their ideas preveal, make-up artists see their masterpieces strutting around on set, but what about retouchers?
Artist, Justine Foord delved into the world of retouching shorting after graduating from City of Westminster University. Originally from Kent, Foord traipsed around the streets of London with her portfolio in hand knocking on the door of every brand, magazine and photographer she adored. Since then she has worked for the likes of Pop, Daily, Miu Miu, DKNY, and of course Love. Foord has developed an impressive clientele and has an entrusted close-knit team working with her.
Justine Foord openly speaks out about the ‘bad press’ that retouchers receive, explaining that it is misunderstood. According to Foord, retouching brings out the best in people and materialises ideas that can’t be translated otherwise. In the interview Foord conducted with EFTI, she explained that she can do anything using her art form, from changing the colour of a models hair, to revamping the exterior of a car, to creating out-of-this-world set displays. Starting out in a time where the industry was experiencing a transitional period, Foord was exposed to the old school art of hand-retouching and then was quickly immersed within the new influx of computerised technology. Therefore, with a before-and-after overview Foord transforms images, tampers with colour and is always experimenting with new and innovative techniques. The creative boundaries of retouching really are limitless.
With photographers and retouchers working incredibly closely, a good relationship between the two is vital. Foord even advised young wannabe-retouchers to try their hand at photography and vice versa, in order to understand both aspects. The misunderstood art form of retouching is a crucial aspect of any creative process, ultimately, they put together the final product and evidentially have, “the last touch”.
