SBTEXMEDIA
Premium Creative Studio
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Product Cutouts ✦ Hair & Fur Masking ✦ Glass & Transparency ✦ Marketplace White ✦ Bulk Catalogues
"Nobody notices a good cutout. Everybody notices the white halo around a bad one."
SBTEXMEDIA provides professional background removal for businesses that publish images at scale. Led by Bayazid Kajol, founder of SBTEXMEDIA, this service covers product photography cutouts, portraits and model shots, apparel, jewellery, furniture, and the genuinely difficult subjects — hair, fur, glass, smoke and sheer fabric — plus marketplace-ready white backgrounds, shadow reconstruction and bulk catalogue processing.
Automatic removal tools have become impressively good, and for a simple object on a plain background they are often adequate. Where they consistently fail is at the edge. They leave a thin halo of the old background clinging to the subject, which becomes obvious the moment the image is placed on a different colour. They flatten hair into a solid outline. They treat glass as opaque, so a bottle that should show what is behind it becomes a solid shape. And they erase soft shadows entirely, leaving a product floating unnaturally on the page.
The work here is hand-cut paths for hard-edged subjects, channel and edge masking where hair or fur is involved, and genuine transparency preserved rather than approximated. Edges are checked against both white and dark backgrounds, because a halo invisible on white becomes glaring on black. Output comes as transparent PNG, layered PSD where you want to keep editing, and marketplace-compliant white where you are listing products. Where images also need to sit inside campaign material, see graphic design.
Product images are the closest a customer gets to holding your product. A rough cutout tells them what to expect.
In online retail the photograph does the job the shop floor used to. The customer cannot pick the item up, feel the material or turn it over — they judge quality entirely from an image. When that image has a ragged edge, a grey halo or a shadow that was clearly deleted rather than removed, the inference is not that the photo editing was rushed. It is that the seller is careless, and that inference attaches to the product itself.
The halo problem is the most common and the most avoidable. Automatic tools sample a boundary and cut close to it, leaving a one or two pixel fringe of the original background stuck to the subject. On a white page against a white background, nobody sees it. Place the same cutout on a dark banner, a coloured category tile or a social post and the fringe becomes an obvious outline. Because images get reused in contexts nobody anticipated, checking edges against both light and dark is the only reliable approach.
Hair, fur and transparency are where the gap between automatic and manual work is widest. Automatic masking treats hair as a boundary to be traced, producing a helmet-like silhouette that reads as obviously fake in portraits. Glass and sheer fabric are treated as opaque, so a wine bottle or a lace panel becomes a solid shape and loses exactly the quality that made the product appealing. Preserving these takes channel work and patience rather than a better algorithm.
Marketplace compliance is a purely mechanical cost that catches sellers repeatedly. Major platforms have specific requirements for main product images — background colour, how much of the frame the product must fill, whether props or additional text are permitted. Listings get suppressed for breaching them, and the seller often does not understand why traffic fell. Preparing images to the platform's stated specification avoids that entirely.
Finally, consistency across a catalogue. Products shot on different days, cropped differently and sized inconsistently make a listing page look chaotic even when each individual photo is fine. Uniform cropping, alignment and shadow treatment across a whole range costs very little when handled as a batch, and makes a small catalogue look like an established brand.
Six outcomes that separate a hand-cut image from an automatic one.
Twelve-plus sectors, each with a different subject that is difficult for different reasons.
Difficulty in cutout work is driven by the subject rather than the sector's prestige. Jewellery combines fine chains, reflective metal and gemstone transparency in one small object. Apparel needs the fabric's true colour preserved, since a mis-shifted shade generates returns and complaints. Furniture involves large soft shadows that look wrong if deleted outright. Food photography relies on steam, glaze and moisture that automatic tools strip away. Knowing which of these applies before quoting is why my estimates hold rather than being revised halfway through.
If any of these describe your image library, this is the service you are looking for.
Six reasons drawn from what returning clients say when I ask them why they came back.
The same six steps on a single portrait and a three-hundred-image catalogue.
On large batches the step that saves the most rework is the sample approval. I process three or four representative images first — an easy one, a difficult one and something in between — and get your sign-off on edge treatment, shadow style and cropping before touching the rest. Discovering after two hundred images that you wanted the shadow kept is an expensive way to learn it.
Every background removal project includes all of the following — none of it is an upsell.
The questions clients ask before sending me images. For broader questions, see the main FAQ page.
Send a sample of your images — including the hardest one, not just the easiest — and tell me where they're being published. You'll get a fixed per-image price and a total, usually within a few hours.
"Let's turn your vision into something exceptional — together."
I respond within a few hours. Send a sample of your images.