My Process, No Fluff: Real Photos → Photoshop → Print
Short version
I start with a real photo (mine or licensed from a collaborator), build the idea from my notes and direction, then do the real work in Photoshop: upscale, refine, composite when needed, and clean everything up at stupid zoom levels until it holds up in print.
If a collaborator’s licensed photo is used in a piece, they get paid on sales. No scraping. No stealing.
From Landscapes & Corporate Work to Building Images
I started with landscape and corporate photography. That taught me timing, light, and how to make images that actually say something.
Outlier Gifts is the next step. I still shoot real scenes, but I also build images—layer by layer—until they feel finished, believable, and worth hanging on a wall.
The Process (step-by-step)
1) Start with a real photograph
Most pieces begin with a shot I’ve taken. Sometimes I’ll use a licensed photo from a collaborator when it’s the right fit. Either way, the base is a real scene with real light.
2) Direction first: notes, mood, composition
I don’t sketch. I work from a clear idea: the place, the mood, the framing, the time of day, the colours I want, what needs to be removed, and what needs more emphasis. This is where the “plan” gets locked in before I start the heavy editing.
3) Photoshop: where it becomes the final artwork
Upscale & clean: I upscale early so detail holds up at print sizes.
Edit: Exposure, contrast, colour balance. Get the bones right first.
Composite (when needed): Add or remove elements, fix perspective, match light and shadows.
Blend & tone: Curves, selective colour, gradient maps, plus dodge & burn to guide the eye.
Texture & atmosphere: Grain, micro-contrast, and subtle imperfections so it reads like a photograph, not plastic.
4) Pixel peeping (the unglamorous bit)
Zoom to 200–400%, fix edges and halos, align textures, calm noise, add noise, and make sure nothing “snaps” the illusion. If something looks fake, it gets fixed.
5) Print prep
These aren’t just for screens. I soft-proof, check sharpness at the actual print size, and export clean, consistent files. If it won’t print well, it doesn’t ship.
How long does it take?
Anywhere from a couple of hours to days depending on complexity. Simple edits are quick; heavy composites aren’t. Sometimes I leave a piece for a few days so I can come back with a fresh pair of eyes.
Why Use AI at All?
Because it speeds up idea → image. The model is trained to respond to my language and style, so I can get to a strong starting point fast. It’s a tool—like a lens or a brush.
What Stays Non-Negotiable
Real/licensed photos only.
Photographers get paid. If I use a collaborator’s licensed image in a piece, they earn commission on sales.
Quality over shortcuts. If it looks off, I rework it.
Collaborations
I collaborate with photographers worldwide. Local knowledge and my process equals work that feels rooted and fresh. If you’re a photographer and you want in, send me a message on socials or an email.
Why People Buy From Outlier Gifts
It’s original, detail driven and artisitc. Built pieces that still feel unique and custom.
It prints beautifully. Detail holds up in the hand, not just on a phone.
It supports photographers. Your purchase helps fund the people out shooting in the rain and getting up before sunrise.
FAQ
Do photographers really earn money?
Yes. If a collaborator’s licensed photo is part of the artwork, they earn commission on sales of that piece.
Are these “AI images”?
They’re photo-led artworks. I use a custom AI model to generate a base from my words, then I finish in Photoshop. The photo and the craft are what make it work.
Do you always do heavy composites?
No. Some are simple edits; others need layers, replacements, and colour rebuilds. The image decides.
Can I commission something custom?
Yes. Tell me the place, size, and vibe. I’ll confirm what’s possible and what it will take.
