I'm Luke Stimson — a working photographer based in San Francisco. For over ten years I've shot and retouched commercial, editorial, event, and wedding work, and for most of those years the pattern was the same: the shooting was the job I loved, and the editing was the second job I never applied for.
Busy season meant 30-hour edit weeks. Saying yes to one more wedding meant saying goodbye to another string of evenings in Lightroom. Every photographer I know runs the same math — and most of the "solutions" on the market fail it. The AI tools leave you doing the QC, the cull, the fixes, and the exports. The big editing houses put your gallery in a queue with a rotating cast of editors who've never met you. The wonderful solo private editors cap out at a handful of clients and book solid by June.
So Fogline is the studio I wished existed. We're unapologetically boutique: every client has a direct line to me, every style profile is built by hand, and every gallery passes a working photographer's eye before it ships. And we're honest about how we work — we use modern tools internally to move fast, then a human editor with real retouching years finishes every single image. That's the part that makes it feel like you: the judgment calls on skin in mixed reception light, the white-balance drift across a dance floor, the difference between moody and muddy.
The name? The fog line is that ridge where San Francisco fog breaks and the light pours through. It's what a good edit does to a RAW file. And it's home.