I’ve said it before and I’ll say it again… I love work with people that have creative ideas and open minds. I love sitting down and trying to get a concept to work with another artist. (Brandon) K-Truth is such an artist. Check out is hip-hop music and website Here. On this shoot I brought my interfit 400ws strobes with me and a gigantic octabox, along with some small flashes for the smaller spaces. I have worked in some tight spaces before but I have to say, this kitchen might take the cake for a portrait. For several of the shots I had to ditch the modifiers all together and use the cone reflectors with barebulb. Luckily, these shots all called for a bit of edge and hard bare bulb light was perfect. If you’re gonna do work in tight spaces with white or light walls, control of your light is everything. I really need to invest in some grids to help control my bigger lights!
For this shot I really wanted some light separation between K-Truth and the background, however, the tight space meant the lightstand I placed behind him was in the shot. I decided to create a composite to help with this situation. I took several shots of the space without my lights or my subject in the frame with my camera on a tripod. I then placed my lights without touching my camera and took more photos with K-Truth in the frame. You have to be extremely careful not to touch the camera during this process or it will throw the composite completely off. Because I knew I was going to create a composite I was able to use my giant octabox and not worry so much about all the light I was throwing around.
Then it was as simple as processing the room and subject photos separately but equally and bringing them together for the final image you see above.
This one here wasn’t a composite at all. I feathered the light as far forward as possible, so as to keep as much light away from the kitchen cabinet and walls as possible. In order to add separation I shot wide open at f2.8. I’m a big fan of all the rectangular shapes in this image. All shots were processed very similarly by adding two very low contrast layers together in an overlay mode in order to create contrast yet keep details in the shadows.
These last two images were both lit in the same fashion. The most difficult part of photographing inside is controlling that light! Add to that, light walls, and the request for a dark photos and you’ve got some challenges ahead. My only modifier was my huge octabox, which gave me no clearance to shoot below it in such low ceilings as well as throwing around a TON of light. This created a much brighter photograph than I wanted. I reminded myself that I wasn’t shooting family home portraits and put the gigantic modifier away. This called for much harder light with much more control. I decided to use my strobes with only the silver conic reflectors. The result are these last images here.