Catalogue photography is built to inform, and it does that well — it just tends to get scrolled past as easily as it gets made. Meanwhile brands need far more content than a full production can realistically cover.
AI is the obvious answer to volume. But a lot of AI content still reads as AI — plastic skin, stray hands, a stock-photo mood. It solves the budget problem and quietly costs the brand something else.
Most of my work sits between those two: keeping the speed AI makes possible, without letting go of how a real production actually looks.
It starts with the concept. The product goes into a believable scene — an office, a library, an airport — and a metaphor grows out of one detail of it. A real scene, one thing out of place. The product stays the hero.
From there I usually carry the project through myself: boards, generating and directing the imagery and motion, the edit, the catalogue system. The aim is that a brand gets material it can publish, rather than a folder of images.
Remote worldwide, open to relocation.
The AI work covers whatever the brief needs — social, email campaigns, site key visuals, catalogue shoots that never book a model, film for in-store screens.
