Jewellery Retouching That Sells: Diamonds, Reflections and True Metal Colour (Without Making It Look Fake)
Jewellery retouching must show diamonds, reflections and true metal colour. Learn the craft, the checks, and where enhancement becomes misrepresentation.
10/28/202620 min read
Jewellery is the hardest product type to photograph well, and the easiest to ruin in editing. A ring, a chain, or a watch is small, reflective, and full of detail that only becomes visible when a buyer zooms in. At thumbnail size, a jewellery photo can look acceptable. At zoom, every speck of dust, every unwanted reflection, and every colour shift is suddenly obvious.
That is why jewellery retouching is not a quick cleanup. It is precision work, and it has a clear line that good editors respect: enhance the piece so buyers can see it clearly, without making it look like a different piece.
Why jewellery is different from other products
Most products are judged at a normal viewing distance. Jewellery is judged at zoom. Buyers zoom to check:
- Whether diamonds and stones look clear and lively, not dull or cloudy
- Whether metal looks clean, smooth, and true to its real colour
- Whether clasps, links, prongs, and settings look well made
- Whether there are scratches, dust, or fingerprints that suggest poor care
A small flaw that would be invisible on a t-shirt photo becomes a reason not to buy when it is on a ring. At the same time, over-retouching creates the opposite problem: a piece that looks perfect online and different in the buyer's hand will lead to disappointment, returns, and lost trust.
The goal, therefore, is not perfection. It is clarity and honesty at zoom.
What buyers actually check — and the angles that answer them
Before you edit a single image, decide which buyer questions each photo must answer. A single hero shot rarely does it all, however well retouched it is. A practical set for most listings is:
- The full piece, front on: shape, proportion, and overall design. This is the image buyers compare first.
- A close crop of the stone or centrepiece: facet pattern, setting, and prongs, at a size where detail survives zoom.
- A side or three-quarter angle: depth of the setting, band thickness, and how the stone sits — details a flat front view hides.
- The clasp, closure, or bracelet links: how it fastens, whether links are even, and whether the mechanism looks sound.
- Hallmarks, engraving, or dial details on watches: keep these legible, never smoothed away or sharpened into invented lettering.
- A scale cue where it helps: a piece worn, held, or shown beside a familiar reference, so size is not guessed from a zoomed crop alone.
Use this list as an editing brief, not just a shooting list. If the close crop of the stone is soft in the original, no amount of sharpening will restore facet detail. If the clasp was never photographed, retouching cannot invent a trustworthy view of it. Plan the angles first, then retouch each one for the question it answers.
Before retouching: a shooting checklist that makes good editing possible
Retouching cannot rescue a photograph that was never sharp, clean, or correctly lit. Much of what looks like an editing problem is really a shooting problem, and fixing it at the shoot saves hours later. Work through this checklist before you send files to an editor:
1. Clean the piece first, then clean it again. Use a soft cloth and, where appropriate for the material, a proper jewellery cleaning method. Fingerprints and dust that are visible at macro distance are far harder to remove convincingly than a light smudge.
2. Check focus at full magnification on the camera, not on the small screen preview. For a ring, focus on the stone and the front prongs. For a watch, focus on the dial and the hands. If the key detail is soft, reshoot rather than hoping sharpening will fix it.
3. Control reflections at the source. A light tent, diffused lights, and a plain background reduce harsh studio reflections before editing starts. Move lights a little at a time and watch how the reflection travels across curved metal, rather than fixing one position and relying on cleanup.
4. Shoot the metal colour you actually sell. Photograph gold, rose gold, and platinum pieces under the same lighting setup, and keep a reference shot of each metal under that setup. That reference is what stops colour drift later.
5. Keep the background and shadow consistent across a collection. If one piece has a hard shadow and the next has none, the collection looks assembled from different sellers, even when the retouching on each image is good.
6. Send the largest original file, not a compressed copy. A file that has already been shrunk or heavily compressed loses the facet and texture detail the editor needs, and zoom will expose that loss.
If you follow only one rule from this section, make it this: clean, sharp, and consistently lit originals are what allow retouching to stay honest. The editor's job is to remove shooting artefacts, not to rebuild a missing photograph.
A retouching workflow, in the order that matters
Good jewellery retouching follows an order. Doing steps out of order — for example, boosting colour before cleaning dust — bakes problems into the image and makes them harder to remove later. A sound sequence is:
1. Clean the frame. Remove dust, fibres, fingerprints, and background marks. Check edges and the inside of curves, where dust collects and is easy to miss at normal size.
2. Correct shape and alignment. Straighten the piece, centre it, and correct any distortion that makes a band look bent or a chain look uneven, without changing the design itself.
3. Tame reflections. Remove reflections of the camera, lights, and studio, while keeping the soft reflections that give metal its shape. Work link by link on chains, and facet by facet around a stone setting.
4. Restore stone clarity. Clean the stone surface, then gently increase facet contrast so the cut reads clearly. Stop as soon as the stone looks like itself under good light.
5. Correct metal colour and finish. Match the metal to its reference, keeping brushed areas matte and polished areas bright. Do this after cleaning, so dust and reflections do not skew your colour judgement.
6. Refine detail, then check at zoom. Sharpen prongs, links, clasps, and engraving only where the original detail supports it. Then view the image at 100 percent and at the size buyers will actually use, and fix anything that only appears at zoom.
7. Check the set as a whole. View all images for one piece, and all pieces in a collection, side by side. Colour, background, shadow, and brightness should match across the set, or the difference should be a deliberate, explained choice.
Ask any editor you work with to describe their order of work. If colour is adjusted before cleaning, or sharpening is applied before reflections are handled, ask why — the answer will tell you a lot about how carefully the file will be handled.
Diamonds and stones: sparkle without invention
Diamonds and coloured stones need careful, facet-by-facet work. The aim is to bring out the light that is already in the stone, not to paint in sparkle that was never there.
Good practice includes:
- Cleaning dust and smudges from the stone surface, so light is not blocked
- Gently enhancing contrast between facets, so the cut reads clearly
- Keeping the stone's real colour and clarity, including natural inclusions that are part of the stone, unless the seller explicitly asks for a different treatment and understands the honesty implication
- Avoiding a uniform, artificial sparkle pattern that makes every stone look identical
A common mistake is to add starbursts or white spots across a stone until it looks like a cartoon. That may catch the eye at thumbnail size, but at zoom it looks fake, and experienced jewellery buyers will notice. A better test is to compare the retouched image with the real piece under good light. If the retouched stone looks brighter but still recognisably the same stone, the work is on the right track. If it looks like a different stone, it has gone too far.
For a practical check, look at three things in the retouched stone: the table (the flat top facet) should not be blown out to solid white; the girdle edge should stay defined rather than glowing; and the facets should vary — some bright, some darker — as they do in a real stone turning in light. A stone where every facet is equally bright has been overworked, even if it looks striking at first glance.
Coloured stones, pearls, and opals need a different hand
Not every stone should be treated like a diamond. Applying diamond-style sparkle and contrast to other materials is one of the fastest ways to make a piece look wrong:
- Coloured stones (ruby, sapphire, emerald, and similar): protect the hue first. Increasing saturation to make a stone look richer is tempting, but it quickly turns a natural stone into a coloured-glass look. Clean the stone, correct any colour cast from the lighting, and keep the tone the buyer will see in hand. If a stone has visible inclusions or zoning that are part of its character, leave them visible and describe them in the listing rather than painting them out.
- Pearls: pearls depend on lustre, not sparkle. Over-sharpening a pearl destroys its soft surface and makes it look chalky or plastic. Clean dust and reflections gently, keep the surface smooth, and preserve the subtle colour overtones — pink, cream, or silver — rather than pushing the pearl towards pure white.
- Opals and stones with play of colour: do not sharpen or saturate the colour flashes into a uniform pattern. Each flash should stay where it was in the original photograph, at its original strength relative to the others. If the original photograph does not show the play of colour well, reshoot under different lighting rather than painting it in.
A useful rule for all three: if you cannot point to the detail in the original file, do not add it in the retouch. Enhancement reveals; it does not invent.
Reflections: remove the studio, keep the metal
Curved metal reflects everything around it: the camera, the lights, the photographer's hands, and the studio itself. Those reflections are often the first thing a retoucher must deal with, and they require judgement.
Not every reflection should be removed. Some reflections give metal its shape and depth. A completely reflection-free piece can look flat and lifeless, like plastic rather than metal. The skill is to remove distracting reflections — the camera, a harsh light streak, a dark patch that looks like damage — while keeping the soft reflections that show the curve and polish of the metal.
For chains and bracelets, this is especially important. Each link reflects its neighbours, and inconsistent cleanup can make links look disconnected or uneven. Work should be checked link by link, at zoom, not just at full-frame size.
For watches, reflections on sapphire glass and on brushed versus polished metal in the same frame add another layer. Brushed metal should stay matte and textured, while polished metal should stay bright and smooth. Treating both the same way flattens the watch and hides the very finish that makes it valuable.
A concrete way to judge reflection work: cover the retouched image and look at the original, then uncover it. The reflections that disappear should be the ones that told you about the studio — a rectangular light, a dark camera shape, a hand. The reflections that remain should be the ones that tell you about the piece — a soft gradient along a curve, a bright edge on a polished bevel, a gentle darkening where one link overlaps another. If the second group has also disappeared, the metal has been flattened, not cleaned.
True metal colour: gold, rose gold, and platinum must stay distinct
Metal colour is where many jewellery edits fail quietly. Gold can drift towards yellow-orange, rose gold can drift towards pink or copper, and platinum or white gold can drift towards grey or blue. At thumbnail size, those shifts may pass unnoticed. At zoom, or when a buyer compares two pieces, they become obvious.
To keep metal colour true:
- Work from a calibrated workflow, with a consistent colour profile for output
- Use a colour reference from the shoot where possible, such as a known metal sample or a carefully lit reference shot
- Check gold, rose gold, and platinum pieces side by side, not in isolation, so their differences remain clear
- Do not apply a single colour preset to every piece. Each metal needs its own judgement.
If you sell the same design in multiple metals, colour accuracy becomes even more important. A buyer choosing between gold and rose gold needs to see a real difference, not two versions of the same warm tone. Colour variants should be created from accurate masters, with each variant checked separately.
Use this quick decision guide when you review metal colour:
- Yellow gold: should read warm, but not orange. If the band looks orange against a white background, the warmth has been pushed too far.
- Rose gold: should read pinkish-warm, clearly different from yellow gold, but not copper or bubblegum pink. Compare it directly with your yellow gold image of the same design.
- White gold and platinum: should read cool and bright, but not blue or grey. If the metal looks blue, a colour cast from lighting or from a preset has crept in. If it looks flat grey, contrast and reflection work may have stripped its polish.
- Silver: should stay bright and neutral, with soft reflections showing its shape. Over-brightening silver to pure white removes the very shading that proves it is metal.
- Two-tone pieces: check each metal separately, then check the boundary between them. A common error is correcting the whole piece for one metal and shifting the other, so the contrast that makes two-tone pieces attractive disappears or looks artificial.
When you approve a set, view the metal variants together on the same screen, at the same brightness. If you cannot tell the metals apart, or if one metal looks like a filtered version of another, send the set back with that specific note: name the two metals, and say which direction the colour has drifted.
Backgrounds, shadows, and consistency across a collection
A jewellery image is not only the piece; it is also the background and shadow around it, and inconsistency there undermines trust just as surely as a colour error. Decide these three things before editing a collection, and hold them across every image:
- Background: pure white is the standard for marketplace and catalogue listings because it keeps attention on the piece and matches across sellers. Lifestyle or textured backgrounds can work for brand and social images, but mixing the two within one listing confuses the buyer about what is product and what is styling.
- Shadow: a soft, natural shadow grounds the piece and shows it has weight. A hard, dark shadow looks like a cutout error; no shadow at all can make a piece look pasted onto the page. Whichever you choose, keep its direction and softness consistent, so pieces photographed on different days still look like one collection.
- Framing and size: keep the piece at a similar scale and position across images of the same type. If one ring fills the frame and the next sits small in a corner, buyers cannot compare designs fairly, and the smaller piece will look less important than it is.
When you receive a retouched set, open three or four images side by side before you look at any one image closely. Inconsistency in background, shadow, or scale is easiest to spot that way, and it is much cheaper to fix before images are uploaded to a listing.
Worked examples: what good retouching actually changes
Abstract advice is easy to agree with and hard to apply. These three examples show the decisions a retoucher makes on real jewellery types, and — just as importantly — what a good retoucher deliberately leaves alone.
Example 1: A diamond solitaire ring at macro distance. The original is sharp, but dust sits on the table facet, a rectangular light reflection cuts across the band, and the stone looks slightly grey because a smudge blocks light. The retouch cleans the dust and the smudge, removes the rectangular reflection from the band while keeping the soft gradient that shows the band's curve, and gently increases facet contrast so the cut reads. What is not changed: the small natural inclusion visible near the girdle stays visible, and no sparkle is painted onto facets that were dark in the original. The result is a brighter stone that is still recognisably the same ring.
Example 2: A yellow gold chain, photographed full length. The original has uneven reflections: some links look bright and connected, others look dark and separated, and a fingerprint smudge sits on the clasp. The retouch works link by link, evening the reflections so no link looks disconnected, cleaning the clasp without smoothing away its mechanism, and checking the full length — not just the centre — for a link that was missed. What is not changed: the natural variation where one link overlaps another stays, because that overlap is what proves the chain is linked rather than drawn. The result reads as one continuous, well-made chain.
Example 3: A two-tone watch with brushed and polished links. The original has a strong reflection across the sapphire glass that hides the dial, brushed links that look polished because a preset brightened everything, and polished links that look dull for the same reason. The retouch removes the glass reflection enough to make the dial, hands, and markers legible, restores the matte texture to the brushed links, and restores brightness to the polished links separately. What is not changed: the dial markings, hands, and numerals are kept exactly as photographed — no re-drawing, no straightening of a hand that was photographed at an angle. The result shows both finishes honestly, which is precisely what a watch buyer needs to judge value.
Notice the pattern across all three: the retouch removes what the camera and studio added, reveals what the piece already is, and stops before inventing anything new.
Common mistakes, and how to avoid each one
Most jewellery editing failures fall into a small set of patterns. If you recognise one in your own images, the fix is usually specific, not a general "edit less" or "edit more":
- Mistake: every stone sparkles identically. Why it hurts: buyers who know stones will distrust the whole listing. Fix: enhance only the light already in each stone, facet by facet, and vary brightness across facets as in the original.
- Mistake: metal looks plastic. Why it hurts: without soft reflections, metal loses depth and looks like a rendering. Fix: restore a gentle gradient along curves, and check brushed and polished areas separately.
- Mistake: gold, rose gold, and white gold look alike. Why it hurts: buyers cannot choose between variants with confidence. Fix: check variants side by side against reference shots, and correct each metal on its own, not with one preset.
- Mistake: the clasp, prongs, or links are soft while the stone is sharp. Why it hurts: the parts that prove craftsmanship look careless. Fix: check focus and sharpness on prongs, clasps, and links at zoom, not only on the centrepiece, and reshoot if the original detail is not there.
- Mistake: backgrounds and shadows change from image to image. Why it hurts: the collection looks inconsistent and harder to trust. Fix: agree background, shadow, and framing before editing, and review the set side by side before publishing.
- Mistake: a flaw is painted out rather than disclosed. Why it hurts: the buyer discovers it on delivery, and the seller — not the editor — loses the trust. Fix: keep the honesty rule below, and disclose condition in the listing text.
If you send a revision request, name the mistake, name the area, and name the fix you want, for example: "On the gold chain image, links 4 to 6 from the clasp look disconnected — please even the reflections there, as on the centre links." Specific feedback gets a specific fix; general feedback ("make it better") usually gets another general pass.
Dust, scratches, and the honesty line
Jewellery photography almost always needs dust and scratch cleanup. Jewellery attracts dust, and macro photography magnifies it. Removing dust, fingerprints, and minor surface marks from the photograph is standard practice, because those marks are not part of the product — they are artefacts of handling and shooting.
The honesty line is crossed when editing hides a real defect in the piece itself, such as a damaged prong, a cracked stone, a bent link, or a worn finish, and presents the piece as undamaged. That is not retouching. That is misrepresentation, and it will damage trust far more than a visible flaw would.
A practical rule helps: clean the photograph, not the product. Remove what the camera added — dust, reflections of the studio, uneven lighting artefacts — but do not remove what the product actually is. If a piece has a condition issue, disclose it in the listing, and let the photograph show the piece honestly.
This rule is especially important for pre-owned jewellery and watches, where condition is part of the value. A buyer who receives a watch with a scratch that was edited out will not blame the camera. They will blame the seller.
For pre-owned pieces, use this decision rule before you approve an edit:
- Dust, fingerprints, and lint from handling: remove. These were not on the piece when it was made or worn; they arrived during photography.
- Light surface marks from normal wear, shown in the listing condition note: leave visible, and describe them. Editing them out while describing the piece as flawless is misleading.
- Damage that affects function or safety — a loose prong, a cracked stone, a faulty clasp: never edit out. Repair the piece, or disclose the damage clearly and price and describe it accordingly.
- Uncertain cases: if you cannot tell whether a mark is dust or damage, clean the piece physically and re-photograph it. Do not let an editor guess, because a wrong guess in either direction — leaving dust that looks like damage, or removing damage that looks like dust — harms the listing.
When to retouch, and when to reshoot instead
Retouching has limits, and knowing them saves both time and listings. Retouch when the original is sharp and correctly exposed, and the problem is dust, reflections, background, or colour cast. Reshoot when any of these are true:
- The stone, prongs, or dial are out of focus in the original. Sharpening cannot create facet or numeral detail that was never captured.
- The metal colour is wrong because the lighting was wrong, not because of a small cast. A completely different lighting setup needs a new photograph, not a colour preset.
- The piece is cropped so tightly that a clasp, link, or hallmark the buyer needs is missing from the frame.
- The reflection hides the dial or the stone entirely, rather than sitting beside it. Removing a reflection that covers the whole subject usually leaves a flat, invented area.
A good editor will tell you when a file should be reshot rather than edited, even though reshooting means more work for you. That honesty is a sign of a trustworthy service, not a refusal to help.
A zoom quality checklist for jewellery
Before you publish a jewellery image, check it at full zoom, not just as a thumbnail:
1. Are diamonds and stones clear, with facet detail, and without invented sparkle?
2. Are distracting reflections removed, while natural metal shape is preserved?
3. Is the metal colour true, and distinct from other metals in the same collection?
4. Are dust, fingerprints, and shooting artefacts cleaned, without hiding real damage?
5. Are clasps, links, prongs, and settings sharp and consistent?
6. Does the piece at zoom still look like the real piece in hand?
If any answer is no, fix that area before publishing. A jewellery listing that passes at zoom will also pass at thumbnail size. The reverse is not true.
A ten-minute check you can do yourself
You do not need editing software to check a retouched file well. Set aside ten minutes, open the original and the retouched image side by side, and work through these steps:
1. Zoom to 100 percent on the stone first. Check facets, the table, and the girdle edge. Note any facet that looks painted, any sparkle that was not in the original, and any inclusion that has disappeared without explanation.
2. Follow the metal around the whole piece. Look at the band, each link, or each bracelet segment in turn. Note any link that looks disconnected, any area that looks flat or plastic, and any colour shift from one part of the piece to another.
3. Check the small mechanisms. Zoom on the clasp, the prongs, and any engraving or hallmark. These should be as sharp and legible as the original allows — never softer, and never re-drawn.
4. Compare metal variants side by side. If you sell the same design in more than one metal, open those images together. You should be able to tell the metals apart immediately, without reading the label.
5. Check the set, not just the image. Open three or four images from the same piece or collection together. Background, shadow, brightness, and framing should match, or the difference should be deliberate.
6. Hold the real piece beside the screen, if you can. This is the final test. If the retouched image looks like the piece in your hand under good light — brighter and cleaner, but the same piece — approve it. If it looks like a better piece than the one in your hand, send it back with the specific area noted.
Write your revision notes as you go, naming the image, the area, and the change: "Ring hero image, band at lower left, reflection still shows a rectangular light — please soften, keeping the curve gradient." That note can be acted on in minutes. A note that only says "the ring looks off" cannot.
Rings, chains, and watches need different checks
Although they share the same craft, different jewellery types need different attention:
- Rings: Focus on the stone, the setting, and the band. Check prongs at zoom, and make sure the band's metal colour and finish are consistent all the way around.
- Chains and bracelets: Focus on link consistency, clasp detail, and reflections across curved links. Check the full length, not just the centre of the frame.
- Watches: Focus on dial legibility, glass reflections, bracelet-link consistency, and the difference between brushed and polished metal. Keep markers, hands, and numerals honest and readable.
Treating all three as "jewellery" and applying the same quick cleanup to each is a common shortcut, and it shows. A watch-only or ring-only checklist, used at zoom, catches problems that a general checklist misses.
For watches specifically, add three checks that ring and chain checklists miss: first, that the hands and markers have not been moved, straightened, or re-drawn; second, that the date window, logo, and small dial text remain legible and true to the original; third, that the bracelet tapers correctly and each link matches its neighbours in finish. For rings, add a check that the stone sits straight in its setting and that prongs are even — an uneven prong is both a visual flaw and a practical concern for a buyer. For chains, add a check that the chain lies naturally, without a kink or twist that editing has straightened into an unnatural line.
What to send a retoucher
If you outsource jewellery retouching, send:
- The largest, sharpest original files you have, not compressed downloads
- The metal type for each piece, so gold, rose gold, and platinum are not confused
- Any stone information that affects colour or clarity expectations
- Notes on condition, especially for pre-owned pieces, so the editor knows what must not be hidden
- A reference photo in natural light, if you have one, to help with colour judgement
Ask to see the zoom view of the retouched image before you publish, not just a small preview. Jewellery quality is decided at zoom, so that is where approval should happen.
A brief template you can copy
A short, complete brief prevents most revision rounds. For each piece, send:
- File name and metal: for example, "Ring-01, yellow gold, diamond solitaire."
- Stone note: stone type, and anything the editor must preserve, such as a natural inclusion or a colour characteristic.
- Condition note: new, or pre-owned with the specific marks to leave visible and disclose.
- Background and shadow: pure white with a soft shadow, or the style you use across the collection.
- Output needed: the file format and size your listing platform requires, and whether you need a zoom crop as well as the full image.
- Reference image: one photograph of the same metal, or the same piece in natural light, for colour matching.
- Deadline and priority: which image is needed first, so a single urgent piece does not hold up a whole collection.
Also tell the editor what you do not want: no invented sparkle, no smoothing of hallmarks or engraving, no removal of real condition marks, and no single colour preset across different metals. Stating the "do not" list explicitly is just as useful as stating what you do want, because it stops the most common over-editing before it starts.
Questions jewellery sellers ask
Should every image be on a pure white background? For marketplace and catalogue listings, pure white is the safest choice, because it is consistent and keeps attention on the piece. For brand, social, and editorial images, a styled background can work well — but keep the two uses separate within a listing, so buyers are never unsure which image shows the product plainly.
Can retouching fix a dull diamond? It can reveal the light already in the stone by cleaning the surface and improving facet contrast. It cannot turn a dull stone into a lively one, and it should not paint sparkle onto a stone that does not have it. If the stone looks dull because the photograph is soft or poorly lit, reshoot with better lighting first.
Why does my gold look orange and my platinum look blue? Usually because of a colour cast from lighting, or a preset applied to the whole image. Check the metal against a reference shot taken under the same lighting, correct each metal separately, and compare variants side by side before approving.
Should I remove a scratch on a pre-owned watch? If the scratch is dust or a photography artefact, remove it. If it is real wear on the piece, leave it visible and describe it in the listing. Buyers of pre-owned pieces expect honest condition reporting, and a photograph that hides wear will cost more trust than the wear itself costs in value.
How many images does a jewellery listing need? Enough to answer the buyer questions in this article: the full piece, a close view of the stone or centrepiece, a side or three-quarter view, the clasp or closure, and any hallmark or distinguishing detail. One perfect hero image cannot substitute for a missing clasp or hallmark view.
What should I check first when I receive a retouched file? Check the stone at zoom, then follow the metal around the whole piece, then check the clasp, prongs, or dial. If those three pass, check the set side by side for background, shadow, and colour consistency. That order catches the most serious problems first.
What if the retouched image looks better than the real piece? Send it back. A photograph that flatters a piece beyond recognition may win a click, but it risks a return and a lost customer when the piece arrives. The aim is the piece at its clearest, not a different piece.
Try it on your hardest piece
If you want to test a retoucher, do not send your easiest piece. Send your hardest one: a reflective chain, a diamond ring at macro distance, or a watch with mixed finishes. That is exactly the kind of piece where the checks in this article matter most — facet clarity, reflection judgement, true metal colour, and the honesty line between cleaning a photograph and changing a product. Fix The Photo Online offers a free trial: one free image, no credit card required, typically completed in 2–4 hours. Standard turnaround is 24–48 hours, rush turnaround is 6–12 hours, and support is available 24/7.
Send your hardest jewellery image and ask for a zoom-ready retouch that keeps diamonds, reflections, and metal colour true. Contact: contact@fixthephotoonline.com. You can also start from the Free Trial page or the Photo Retouching page on fixthephotoonline.com.
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