You can see every light in this shot except for the main which is just out of the frame and to the right, via a large octabox. I've become fixated on shooting wider portraits as I think it draws a more interesting portrait of your subject. This one doesn't really exaggerate Matt, given the distance, and he remains in the center of the frame (most objects at the edge of the frame are what are exaggerated in wide angle photographs). There's also something I like about the exposed garage, wood, and lights. It feels raw. It seems real. My sleeves are rolled up and nothing is left unexposed. After my eyes are done wandering about the frame I always come back to Matt standing calmly and poised. I almost don't see the lights. It's as if he just about to smile. Just about to tell me something. Some unmistakable of truth. http://flic.kr/p/ib3DLr
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