Pedro Agoas | .com

Promoted to Image Specialist within Canyon Studios following completion of formal Cinema 4D training: a role at the intersection of high-end 2D retouching and the strategic development of Canyon's next-generation 3D product imagery. Canyon is actively transitioning all PDP imagery to fully 3D-rendered representations of their bikes, and Image Specialists are central to that transformation.
Building and maintaining 3D models of Canyon bikes in Cinema 4D assembling and configuring components from a library of 3D assets based on each product's specific BOM (Bill of Materials) and KMAT
Setting up scenes, cameras, lighting and materials to render key PDP views effectively becoming the photographer of a product that no longer needs to be physically in the studio
Ensuring 3D renders are visually consistent with Canyon's existing photographic brand language matching colour, material rendering, highlights, shadows and overall aesthetic to the standard previously achieved through physical shoots
Responsible for product correctness and visual accuracy in 3D: geometry, components, decals, shading, reflections and texture consistency across all bike configurations
Integrating 3D workflow outputs into the full image pipeline through retouching, compositing and final delivery to PDP and broader channel use
Continuing to lead high-end 2D retouching for campaigns, social and lifestyle imagery including on-model, athlete portraits and AI-assisted compositing
Acting as a creative and technical bridge between Studio, Product, Engineering and Marketing teams translating complex product specifications into visually compelling, commercially accurate imagery
Contributing to workflow optimisation, retouching standards, tooling decisions and quality management of external freelance retouchers

Responsible for high-end retouching of product, lifestyle, campaign and social media imagery, as well as on-model content and portraits of pro athletes and top management, working to the highest brand standards across all digital touchpoints.
Delivered high-end, non-destructive retouching workflows across campaigns, PDP, social media, newsletters, app and marketplace — going beyond basic corrections to actively shape the final look and feel of the brand's visual output
Exercised full creative judgement on image treatment: colour, contrast, skin tones, material rendering, reflections and product accuracy acting as the quality gate before any asset was released or published
Responsible for product correctness in website imagery — including complex cases where a specific bike configuration (KMAT/BOM) had never been physically built, requiring construction of correct product perspectives by compositing components from multiple configurations
Performed advanced product builds in post: frame swaps, component swaps, drive train and finishing kit changes, and addition/removal of accessories — ensuring every bike shown on the website accurately reflected its specification
Integrated AI-generated elements (Midjourney) into campaign and social media composites, assessing suitability, adapting to brand standards and delivering seamless final imagery
Collaborated cross-functionally with Photographers, Videographers, Graphic Designers, Digital Designers, Product Managers, Marketing and Pro Sports contributing creative input on briefs that were often open-ended or undefined
Served as the go-to person for complex retouching challenges; supported and informally mentored colleagues; liaised with and quality-managed external freelance retouchers
In several cases, owned the full creative chain — from concept and shoot through to final retouched delivery for complete campaigns and special requests

Independent studio across UK, Ireland, Deutschland, Portugal and Brasil since 2009. Specialising in fashion e-commerce, editorial and campaign; high-fashion to fast-fashion, studio to location. Trusted by global retailers, luxury houses and production agencies with work that required zero margin for error.

Brands worked with directly or through production partners: Gucci, Balenciaga, Jimmy Choo, Victoria Beckham, Harrods, Selfridges, Nike, Adidas, M&S, Amazon Fashion, Superdry, Boohoo Group, Ted Baker, Calvin Klein, Vivienne Westwood, John Lewis and 40+ others.

- Directed a crew of 25 for Bezzu's e-commerce platform launch: established the complete visual benchmark for a brand building its digital identity from zero. Every customer-facing image that launched came through this production.

Selected engagements:
- Selfridges: high-fashion campaigns, on-model and still life
- Boohoo/BoohooMAN: campaign and e-commerce at scale
- Superdry: e-commerce stills 
- Seventy7, Manchester: model, still life, editorial & e-com for Jimmy Choo and Missguided 
- iHeart Studios, London: product imagery for Harrods and New Look simultaneously
- Spring Studios, London: 1 polished image every 3–5 mins, 24h turnaround
- Hangar Seven, London: Whistles, Bloomingdale's, House of Fraser, M&S and Barbour
- Packshot, Düsseldorf & Dublin: Peek & Cloppenburg, Arnotts and Brown Thomas (Selfridges Group)
- Amazon Studios, Hoxton: independent contractor within Amazon's rigorous production standards
- Brownbrogue/Primark, Milton Keynes: 40+ products/day, full image lifecycle owned end-to-end

Senior Retoucher and Photographer in Tu Clothing's in-house studio in Bedford, one of the UK's largest fashion retailers, delivering high-volume, market-leading imagery across clothing, accessories and childrenswear.

Retouched 40–60 images per day for e-commerce, social and campaign platforms, maintaining Tu's ethical no-retouch policy on models with precision and consistency
Shot 30–40 SKUs daily across on-model and still-life formats, directing models, stylists and hair stylists on set
Led fashion campaign shoots with full creative crew: models, stylists, hair; from set to final delivery
Drove creative testing to evolve Tu's visual language, collaborating with the wider Sainsbury's Argos ecosystem across merchandising, marketing and PR
Maintained daily and weekly production KPIs, minimising reshoots and amends through accuracy at point of capture

Returned to Red Creative Agency - where I had previously freelanced - now as Photography Manager and Senior Lead Photographer, brought back specifically to build, lead and elevate the studio operation. Direct line management of the full photography team, overseeing high-volume e-commerce, editorial, lookbook, campaign and social media productions across multiple brand clients simultaneously.

- Built the studio's photographic standards from the inside, having already understood its strengths and gaps as a freelancer on the floor
- Established style guides and lighting diagrams for new brand accounts from scratch
- Acted as internal trainer, talent scout and people developer for photography, retouching and styling teams; identifying skill gaps and building structured training programmes
- Coordinated in-house and location shoots end-to-end, from brief interpretation through to client sign-off
- First point of contact for the Agency Director on all studio matters, trusted to represent the agency's creative output at the highest level

Team Leader and Senior Lead Photographer managing a 9-person photography team plus 4 part-time freelancers in Pro:Direct Sport's in-house e-commerce studio. Responsible for all output quality, workflow, scheduling and team development.

Cut image turnaround time from 10 weeks to 2 weeks through workflow redesign and process improvements
Shot an average of 800 products per week while managing team output against daily brand targets
Recruited and inducted 5 new photographers; built structured training materials covering theory, scenario-based and hands-on learning formats
Created multiple style guides from scratch for new sports categories
Held ILM Management & Leadership qualification through City and Guilds / Bray Leino Foundation Programme

Contributing photographer for Getty Images Latin America, covering São Paulo Fashion Week (SPFW) and Fashion Rio across two seasons of South America's largest fashion weeks.
- Delivered reportage and editorial imagery selects to wire deadlines for one of the world's largest visual content agencies, under the fast-turnaround demands of live event photography: filed selects within the hour for global wire distribution, shooting 500-1,500 images per show and deliver 20–50 selects per event, covering multiple runway shows and backstage daily.

Commissioned to produce 12 magazine covers and inside editorial spreads for PREVENIR Magazine — one of Portugal's leading lifestyle publications. Managed the full creative process independently: set builds, prop sourcing, hiring stylists and MUAs, photography, and overseeing retouching and QC in close collaboration with the Art Director and Magazine Director.

End-to-end production ownership at editorial level is a rare capability; most photographers shoot, few produce. This experience built the creative producing instincts that inform every brief I take on today.