Briefing an outsourced retouching team
The spec details that decide whether a batch comes back client-ready or costs you a revision round.
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Notes from the production floor.
Practical writing about post-production for people who commission it — briefing, specs, marketplace requirements and the decisions that cost a revision round when they go wrong.
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Running a white-label editing partner without losing your client
The fear is reasonable: hand over the production and the studio ends up talking to your client. Four terms remove it.
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Articles & insights
Practical writing about post-production for the people who commission it: what the terms mean, what moves a rate, and how a batch actually gets through a studio. Written from the floor, not from a keyword list.
Where Photoshop fits in post-production
A plain walkthrough of the stage each tool owns, from raw capture through to a marketplace-ready file.
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What can be done with Photoshop?
The retouching, masking and compositing work that actually moves a product listing - and what is better handled elsewhere.
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Hair and fur: when masking beats a clipping path
A path is a hard line. Some edges are not lines at all, and forcing a path onto them is why cut-outs look cut out.
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File naming that survives a 500-image batch
Most delivery problems on large batches are not editing problems. They are naming problems, and they are avoidable.
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What moves a per-image rate up or down
Published rates are a starting point for one image at standard complexity. Four things move the real number.
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One master edit, every aspect ratio: how social cut-downs should be built
Cropping a landscape edit to 9:16 and hoping is not versioning. The ratios have to be in the plan before the first cut.
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Amazon A+ content: what the modules are for, and what to put in them
A+ replaces the plain bullet list with designed sections. Most brands fill them with the same photographs twice.
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Shadows that make a cut-out look photographed again
A clean cut-out floats. The shadow is what puts the product back on a surface, and there are only three kinds worth ordering.
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Why your product colour shifts between the shoot and the listing
The garment was navy on set and reads black online. Usually it is not the camera, and it is fixable at the right stage.
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Ghost mannequin: what it fixes, and when a flat lay is the better call
The hollow-man effect sells fit. It also costs more than a flat lay and is not always the right answer.
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White background, transparent PNG or clipping path: which do you need?
Three things get ordered as if they were the same job. They are not, and picking the wrong one costs you a re-edit.
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