Lab · Before and after
Every piece is shown next to its base photo: a catalogue packshot, a fitting-room selfie, a portrait against a wall. What lies between the two is the work.
I knew photography long before I knew AI, and that is what changes the output: I know what light, what framing and what finish an image needs — and which of the three to fix when something is off.
01 · Editing
Same photo, different clothes. Base and result share their framing, so they can be overlaid.
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Base
AI
The base is a fitting-room selfie taken on a phone. In the result the garment, the hair and the accessories change; the mirror, the corridor light, the hand, the tattoos and the framing stay exactly where they were. What does not move is what makes the change credible.
Base
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Same photo, a different product category: from a two-piece linen set to technical sportswear. The fabric changes its drape and its sheen, and the pose shifts just enough for the whole garment to read.
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AI
A full outfit on the same base: blazer, top, trousers, sunglasses and a chain bag. This is how a whole collection can be shown from a single photo, without reshooting.
02 · Generation
From the catalogue packshot to the campaign image.
The thumbnail is the brand’s catalogue shot. The large image is the result.
AI
Base
The base is the catalogue shot of the full collection on white. Out of it comes a vertical key visual: a single highlighter as the hero, the ring, the map and an epic landscape at sunset, with the title built into the image.
AI
Base
A front-on packshot on white turned into a summer frame: the bottle half buried in pale sand, hard sun and a crisp shadow. The glass still shows the liquid and the label keeps its typography.
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Base
The base is four products cut out on white. The result groups them on a wooden deck, with low sun and leaf shadows. The labels stay legible and the proportions between the bottles hold.
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Base
From a packshot on grey to a domestic scene: the jar sunk into an unmade bed, window light and textured whites. The houndstooth relief and the silver logotype are preserved.
Self-initiated concept pieces, made to show the process. The brands that appear are not clients and did not commission these images; the product base photos are their catalogue packshots.
03 · Variants
One base photo and every version that comes out of it.
The first thumbnail is the base photo. The rest are looks proposed on the same face, brought in to a close-up: from a brown smoky eye to green liner.
The skin keeps its pores, freckles and shine. That is what separates a believable make-up trial from a filter.
Pick a thumbnail. The first one is always the base photo.
Out of a single base photo: a street look in a stone square, three sunsets in the sea, a gelato by a lake, an extreme close-up and a garden portrait.
The place, the light, the clothes and even the hair change. The person stays recognisable in every one of them: that is the job.
Pick a thumbnail. The first one is always the base photo.
Two base photos: the model in profile and the product on fabric. The result places the baroque pearl earring on the ear, to scale and with its own shadow.
From there come the catalogue variants: gold hoops with a drop, or a dark editorial with silver rings and hoops.
Pick a thumbnail. The first one is always the base photo.
04 · Process
Four steps, always the same, so you know where the commission stands.
Goal, channel, format and references. What has to work, and what it is measured against.
Palette, light and framing agreed in writing before anything is shot or generated.
Generation and variants: I change one thing at a time, so I know what each change does.
Skin, colour and cleanup in Photoshop, delivered at the sizes each channel needs.
Contact
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