An architect's eye. A retoucher's hand.

I don't retouch to a preset — I retouch to the eye behind the frame. Every file starts with the same question: what was this photographer seeing when they pressed the shutter, before light, glass, and a dozen small compromises got in the way? From there, skies are rebuilt, reflections are cleared without going flat, and ambient light is shaped until the image reads the way they saw it — not merely the way the sensor recorded it. That's the method, and it hasn't changed since the first frame: protect the vision, never replace it with a look of my own.

BEFORE / AFTER DRAG THE HANDLE TO COMPARE
01

Terrace at dusk

Sky, glass, ambient light
01 / 08
Raw capture
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BEFOREAFTER
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BEFOREAFTER
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BEFOREAFTER
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BEFOREAFTER
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BEFOREAFTER
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BEFOREAFTER
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BEFOREAFTER
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BEFOREAFTER

Every name below shared a piece of their own work — a project they had shaped and cared about — trusting it would come back still recognizably theirs. That trust wasn't built by a portfolio; it was built by matching a photographer's eye rather than replacing it, image after image, for studios shooting alongside Perkins & Will and Perkins Eastman as well as independent photographers building their own name across North America, Europe, Australia, and the Middle East. This isn't a client list. It's a record of who came back to hand over the next one.