Furniture. AI.
A photographer’s eye.
I build furniture imagery and the workflows behind it — with 15+ years of photography, retouching and art direction keeping the pixels honest.
Beautiful rooms. Believable products. A process that can do it again.
Furniture + taste + make the damn thingA one-person AI imaging department. Pretty much.
I’m currently leading AI imaging and visualization for a furniture brand, TOV — creating lifestyle imagery, testing tools, refining images and building the workflow as I go.
I recently developed a process that makes the work faster and more scalable. That’s the part I’m excited to keep building: a way to make strong images consistently, and bring more people into the process without losing the eye that makes it work.
Hands-on image making. Production R&D. A healthy amount of “well, that absolutely did not work.”
The room tells a story. The product stays itself.
Furniture lifestyle imagery, product storytelling and AI-assisted creative for TOV.
The job is to make you want to step into the room — while keeping the furniture’s shape, materials, scale and character believable.
Selected examples already shared in my public portfolio.
Find the angle.
A beautiful product deserves an idea around it.
I work across concept, composition, styling and finishing to give furniture a world worth belonging to. The image has to hold up as a product story as well as a pretty picture.
Let the furniture be itself.
A fringe chair was never going to win by behaving itself.
The Shag Me chair’s texture and personality became the starting point for its visual world: movement, attitude and a little ridiculousness.
Make it good. Then make it repeatable.
I test tools against the image we actually need: realism, product fidelity, useful control and a result we can reproduce. A lucky generation is lovely. A dependable production process is what lets a team grow.
On my workbench: Vizcom, Midjourney, ChatGPT Image and Nano Banana / Gemini for image exploration and refinement; Higgsfield and Kling for motion experiments; Photoshop for retouching, compositing and the finish.
The mix changes with the brief. The standard doesn’t: believable light, consistent materials, accurate proportions and an image that feels like the brand.
I build toward clear visual standards, repeatable steps and a handoff another creative can actually use. No proprietary prompts or internal recipes needed here.
I started with a camera.
Fifteen-plus years of photography, retouching and art direction are underneath every image I make.
I notice when the perspective slips, when the light has no source, when fabric stops looking like fabric, or when a chair quietly grows an extra leg. Then I fix it.
Furniture and interiors work taught me to care about scale, materials and how objects sit in a room. Editorial work, including photo editing for Curator, sharpened the judgment: what belongs, what distracts, and which image is worth keeping.
I’ve also led and mentored creative teams. Making the work stronger and making the process teachable are part of the same job.
Room for imagination.
The same eye likes to wander.
La Sirena and my broader concept work are where I stretch the visual world: atmosphere, narrative and a little more permission to play.