The real base
A Beauregard watch, a jewel, an object photographed in studio: I keep the proportions, materials and signs the brand has already built.
For brands
A brand image isn’t generated, it’s composed.
Brand imagery is not a matter of technique.
Photography, 3D, retouching, video or a generated image: what matters is not only how the image was made, but where it takes you.
I start from the real, an object, a material, a light, a brand identity, to compose images that extend what already exists. Here, AI is not a shortcut but one studio material among others, held by the same eye: framing, balance, presence, emotion.
The final image does not seek to show a product on a background. It seeks to give it a world.
What I do
From the real,
to the composed image.
I start from real images: packshots, studio photographs, material details, jewels, watches, existing objects. AI then becomes a studio material, not a replacement for the product.
The staging
I alter the pose, scale, setting and light. The object can enter a different world without losing its identity.
The final image
The result becomes a campaign image: freer than a packshot, but still held by the real, by composition and by the eye.
For Beauregard, I work from photographs of the jewels and watches to create the worlds in which they can exist.
Read the Beauregard case studyThe authored eye
The shutter and the cursor are two gestures of the same craft, to decide the subject, the frame, the light. The tool changes; the eye stays.
For thirty years I have built images too large, too dense to be taken in a single frame, assembled, part by part. Different materials, one discipline. Today that material is AI, held to the same standard as the lens before it.
We are no longer in an age of savoir-faire, but of savoir quoi faire.
What the eye looks for
The eye searches for what resists a quick glance: a forgotten façade, a strange light, a texture, a colour, a detail that already holds a story.
My work often begins there, in this attention to the visible. Photographing, composing, generating or reconstructing an image is the same gesture: choosing what deserves to be seen, then giving it a presence.
What the image transforms
From panoramic photography and virtual tours to generative images, I work with tools as if they were materials. The camera, the software, 3D, video or artificial intelligence do not replace the eye. They extend it.
Here, AI is not a shortcut but a continuity. It lets me carry a photographic intuition toward wider worlds: dreamed architectures, vanished places, impossible sets, brand imagery, visual narratives and reinvented memories.
What the eye brings
For a brand, a cultural institution or an artistic project, an image does not only show. It must create a presence, an emotion, a direction.
That is where my work lies: giving visual form to an idea, building an atmosphere, bringing forth an image that seems to have always existed, even when it has just been invented.
For brands
Where your
brand can live.
Concrete answers for brands that need singular images built to live beyond the feed.
Yes. A watch, a jewel, an object or a material photographed in studio can become the starting point for a composed image. The product keeps its identity; the world around it becomes freer.
Campaign images, collection launches, editorial visuals, product scenes, images for social, print, vitrines, fairs or press kits. The goal is to give the object a world, not only a background.
The images are conceived beyond the screen: print, vitrines, display, fairs and press materials. The logic is that of a composed and assembled image, not a visual generated in a second.
No. The final image is composed, not generated: subject, frame, light, material, retouching, assembly, every decision is held by the eye. An image is built over a day, not generated in a second.
A general AI tool produces an image from a prompt in seconds, with no real material as input. A composed image always starts from a real product photographed in studio — generative AI then becomes one studio material among others (light, retouching, assembly), not the author of the image.
Each project is quoted by Fullbooking based on the scope of the commission: number of images, complexity of the composition, intended uses (social, print, large format) and exclusivity required. An initial conversation sets the budget before any commitment.
Composing an image, from packshot to finished world, takes a full studio day. The overall project timeline depends on the number of images and the rounds of validation with the brand; it’s confirmed at the quote stage.
Usage rights are transferred to the commissioning brand according to the uses defined in the quote (social, print, large format, duration). Thierry Lechanteur remains the author of the images and may feature them in his portfolio, unless otherwise agreed under a confidentiality clause.
Yes: the high-definition assembly approach, inherited from thirty years of studio and architecture photography, is designed from the outset for large format — well beyond screen resolution.
With a product, a collection, a brand intention and a final use. Production, estimates and contracts then go through Fullbooking, the structure dedicated to practical matters.
Yes. Commissions are produced from the studio in Liège, for houses based in Belgium, France and more broadly across Europe.
Yes, depending on the project: video loops, animated images, AR-ready content, campaign variations or visual material built for digital activation. The logic remains the same: a composed brand image, not a technical effect.
Commission a project
Let’s make the
next image.
For maisons of craft and heritage. One image, composed in a day, built to hold from the e-commerce frame to the largest of formats.
Brussels Liège Paris