White Label Photo Editing Services for Agencies and Studios
A white label photo editing service is one you resell: we edit, you deliver, and nothing in the files says we were involved. From $0.30 an image, unbranded and under NDA. Two kinds of business use it — marketing agencies with four hundred campaign assets due in three days, and photo editing companies whose own floor is already full. Pixel Retouching has run white label work since 2014, from ISO-certified studios in Singapore and Dhaka.
After editBefore
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Send three files from a live job. NDA first if you need one — just ask.
The production floor behind two hundred brands
Eighty in-house retouchers and 8,000 images a day, most of it delivered under someone else’s name. You have probably seen our work without seeing us, which is the point of the arrangement.
Who Uses a White Label Photo Editing Service
Three kinds of business, one shared problem: more work than floor, and a client who is buying your name. The retouching is rarely the hard part — everything around it is.
Photo editing companies past their own capacity
A studio with twelve retouchers and a month that needs thirty has two bad options: turn the work away, or take it and miss the date. A white label partner is the third. We are not a competitor bidding for your clients — we have no visibility of who they are and no route to them, because we never contact them. You keep the relationship and the margin; we supply the hours.
Marketing and creative agencies
Campaign work is not a steady flow. Nothing for two weeks, then four hundred assets in three days across six formats — exactly the shape freelance capacity cannot absorb and in-house headcount cannot justify. Editing gets billed into the campaign at your rate and produced at ours.
Studios and production companies
Post-production is the day after the shoot that nobody pays for, and the one that decides how much you can book. Handing it over turns an unpaid editing day into another shooting day, without your client ever seeing a change in who delivers the files.
It has to be invisible
Your client is buying your team. Files arrive unbranded and unmarked — no watermark, no metadata trail, no supplier logo, nothing in the filenames — so the work is simply yours. We do not appear in your delivery and we do not appear in our own portfolio without your written permission.
Confidentiality before the brief
Unreleased product, embargoed campaigns and named clients cannot be discussed, let alone published. The NDA has to be signed before files move, not negotiated after — and for a peer studio it is the thing that makes the arrangement possible at all.
Job three has to match job one
A different freelancer every time means a different look every time. A named retoucher working to a written style guide is what keeps a client’s assets consistent across a year, and what lets you promise consistency you are not personally producing.
The Terms Agencies Ask About First
The commercial and confidentiality details, stated plainly, because these are what decide whether a partnership is possible at all.
- White label
- Unbranded, unmarked files. No watermark, no metadata, no supplier trace
- Your client
- We never contact them, and never learn who they are unless you say
- Confidentiality
- NDA signed on request, before any file moves
- Portfolio use
- Never, without your written permission
- Your margin
- You set your own resale price. No revenue share, no minimum, no restriction
- Account continuity
- A named retoucher and a written style guide per client
- Capacity
- 8,000 images a day, so spikes are absorbed rather than queued
- Turnaround
- 24 hours standard, with rush available against a live date
None of this costs extra. White labelling, NDAs and a named retoucher are the standard arrangement on a resale account, not an upgrade — you pay the same per-image rate as anyone else on the price list.
What a White Label Account Covers
Whatever the job contains — there is no separate white label menu, you have the whole studio. Each row links to the service page that performs the technique and carries its rate.
Commercial and Advertising Retouching
The high-end end of campaign work: compositing, clean-up and finishing on hero assets that will run large. This is the work most agencies cannot staff internally and least want to hand to an unknown freelancer under deadline.
- Compositing and creative manipulation
- Hero assets finished for large-format use
- Retouched to your art direction, not ours
- Layered files returned on request
How this is done: Photo Enhancement
Try it on 3 imagesProduct and eCommerce Assets at Volume
The bulk of most campaigns. Cut-outs, backgrounds, shadows and colour across a client’s full range, delivered to one written standard so the whole set looks like it came off a single floor — which it did.
- Cut-out, background, shadow and colour
- One written standard across the range
- Every output size and ratio from one master
- Named to your client’s convention
How this is done: eCommerce Photo Editing
Try it on 3 images
Fine Edges and Compositing Work
Hair, fur, glass, smoke and mesh against a background that has to change. The work that separates a usable asset from one the client rejects, and the reason automated cut-outs cannot be used on campaign material.
- Strand-level hair and fur extraction
- Transparency preserved per pixel
- No halo against any background
- Layered PSD supplied for your own compositing
How this is done: Image Masking
Try it on 3 imagesEvery Format the Campaign Needs
One approved master, exported to every placement — social, display, print, out-of-home. Each ratio recomposed by eye rather than centre-cropped, so the subject survives the crop in every size the media plan asked for.
- Each ratio recomposed, never auto-cropped
- Social, display, print and OOH sizes
- Retouching charged once, exports included
- Delivered as one named set
How this is done: Cropping & Resizing
Try it on 3 images
Overflow Absorbed Without a Queue
The commercial reason both audiences end up here. Four hundred assets in three days is a staffing question rather than a skill question, and eighty in-house retouchers means the spike is scheduled rather than apologised for. For an editing company this is the difference between declining a month’s work and taking it: the overflow goes out under your name, on your date, at a cost you knew before you quoted.
- 8,000 images a day of capacity
- Confirmed delivery date before starting
- Same retoucher retained across jobs
- Second-editor check on every file
How this is done: Outsource Photo Editing
Try it on 3 imagesThe Services Behind an Agency Account
Campaign work rarely stays inside one service. Each page carries its own rate and before-and-after.
How a White Label Account Runs
Set up once, then repeatable for every job that follows.
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NDA first, then the brief
Confidentiality is signed before files move, not after. Once it is in place you can send unreleased product, embargoed campaigns or another studio’s client work without a separate conversation each time.
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We quote against real files and a real date
You get the exact per-image price and a delivery time against the actual file count, so you can price the line into your own quote before committing to your client. You are never quoting your client against a number we have not confirmed.
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A named retoucher works the account
The same person, against a written style guide for that client, so the third job matches the first. A second editor checks every file before it leaves. Where you already have a house standard, we work to yours rather than proposing our own.
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Delivered unbranded, in every format
Files arrive unmarked and named to your convention, in every size asked for. You deliver them as your own work — and we have no contact with, and usually no knowledge of, the client receiving them. Revisions are unlimited.
Frequently Asked Questions
What is a white label photo editing service?
It is editing you resell as your own. We do the work, you deliver it, and nothing in the files identifies us — no watermark, no metadata, no supplier name, nothing in the filenames. Your client sees your brand on the delivery because as far as the arrangement is concerned it is your delivery; we are a supplier to you and have no relationship with them. The same applies to a white label photo retouching service at the high end: retouching, compositing and finishing all ship the same way.
We are a photo editing company ourselves. Will you work with us?
Yes, and it is a large part of what we do. A studio with twelve retouchers and a month that needs thirty is the ordinary case, and the alternative — turning the work away or missing the date — is worse for you than paying for hours. We are not bidding for your clients: we do not contact them, do not learn who they are unless you tell us, and will not approach anyone we encounter through your account. If it helps, that undertaking goes into the NDA in writing.
How is this different from your outsource photo editing service?
Outsourcing is about moving your own editing off your own floor — the work is yours, it stays yours, and the question is capacity and cost per image. White label is about reselling: the work leaves under someone else’s brand, which is why the terms that matter here are anonymity, NDAs and never contacting the end client. Same studio, same rates, different question. If nobody is reselling anything, the outsourcing page answers you more directly.
Will our clients know you edited the files?
Not from anything we do. Files come back unbranded and unmarked, with no watermark and no supplier trace, so you deliver them as your own work. We will not name you or your clients publicly, and nothing appears in our portfolio or marketing without your written permission.
Do you sign NDAs?
Yes, on request and before any files move. Unreleased product and embargoed campaigns are routine here, so the NDA is a standard step rather than a negotiation. All client work is confidential by default in any case — stored securely and deleted on request.
Can you absorb a spike of several hundred assets?
Yes. Capacity is 8,000 images a day across eighty in-house retouchers, which is what makes campaign spikes a scheduling question rather than a crisis. Send the asset count and the deadline together and we confirm the delivery date before starting, so you are not committing your client to something we have not agreed.
Will the same person work on our account each time?
Yes, that is the arrangement for agency accounts. A named retoucher works against a written style guide for each of your clients, so a campaign twelve months later still matches the first one. That continuity is the thing a rotating freelance pool cannot give you.
Can we resell this to our clients at our own rate?
Yes, and most agencies do. What you charge your client is entirely your business — we invoice you at the per-image rate and have no visibility of or interest in your margin. There is no revenue share and no restriction on how you price it.
Do you work to our art direction or your own house style?
Yours. We write your direction down as a spec and work to it, which is why the style guide step exists. Where we think a direction will cause a problem — a colour that will not reproduce in print, a crop that will fail at a placement size — we will say so, then do what you decide.
Is there a minimum volume or a partner agreement to sign?
No. There is no minimum order, no monthly commitment and no partner tier to buy into — you pay the per-image rate on the published price list and send as much or as little as a given month needs. That matters most for overflow work, which by definition is not a predictable volume: a studio might send us nothing for six weeks and then a thousand files.
How do we trial you without risking a live client?
Send three files through the free trial, with an NDA in place first if the material is sensitive. Use real work rather than easy files — if you run an editing team yourself, send the ones your own retouchers find slow. The point is to find out how we handle your actual work, not our best case. No card, no account, no obligation.
Industries We Also Edit For
Different way of selling, different brief. Same price list and the same production floor.
Send Three Files From a Live Job
NDA first if you need one. Use difficult files rather than easy ones — if you are an editing company, send the ones your own team would find slow. That is the only trial worth running.