STUDIO & LIGHTING GEAR [*]

The image above shows my studio at the end of a workday—also known as the “everything pile” phase of productivity. You’re seeing one of my trusty shooting tables (my favorite has wheels because I believe in mobile inspiration) and about one-third of the total studio area. The other two-thirds? It’s a jungle of lights, stands, backdrops, surfaces, and storage bins packed with gear, props, and mysterious objects I swear I’ll use someday.

My little dog Henri—affectionately known as the “assistant manager”—is relieved that Mom has finally called it a day. Meanwhile, ninja cat has settled down now that he has a “bigger” brother (not pictured) to wrestle with. Said ninja cat also takes his job very seriously, which mainly consists of chasing anything with tiny legs that dares enter the studio. Don’t worry—they all know how to avoid stepping into the lighting setup (most days).

I had this studio built right into my home, and I love it. When I eventually decide to sell the house and escape to St. Augustine (yes, I have plans), the space can convert easily into a large sunroom. But wherever I go, a studio will follow—because I’m a photographer, and that’s just how we roll. Having a home studio has been both convenient and cost-effective. Bonus points for letting the pets hang out while I work. They’ve gotten used to the flashes and know when to duck and cover.

I’ve always leaned minimalist when it comes to gear and lighting. I own four Profoto D1 Air strobes, but if I find myself needing more than two for tabletop work, I take a step back and ask, “What exactly am I building—an image or a spaceship?” If I can’t solve it with two lights, some mirrors, a reflector, and a whiteboard, I’m probably overthinking it.

Backdrops? They’re not just scenery—they’re cast members. Treat them like subjects and light them with intention. And once you get good with Photoshop, you’ll find that less time lighting fabric means more time perfecting the final image. Learn Photoshop—it’s not just for retouchers. It’s a vital skill for any commercial photographer.

And for the record: no, you don’t need a massive studio unless you’re photographing pianos or antique cars. But you do need a bit of space for all the lighting gear and photo knick-knacks you’ll inevitably collect. That’s why I’ve always set boundaries. I like to keep things clean, simple, and efficient—unless the cat gets into the softbox again. Then it’s chaos, but adorable.

I’ll be posting more articles about lighting as time allows—I need to carve out the time and pull together the right photos to use as examples.

If you’re new to lighting, I highly recommend starting with window light—if you have the space and access to a good natural light source. The key is learning how to see light. One of the best ways I trained my eye was with a simple setup: a high-backed chair placed near a window that caught afternoon sunlight. The chair became my stage. I draped different fabrics—tablecloths, skirts, scraps of cloth—over the back to create backdrops. Then I placed small objects on the seat for still-life studies: kitchenware, feathers, shells, cups, knick-knacks—whatever I had on hand that could be isolated and arranged.

The trick is to sit and wait for the light to do its thing.

Use a zoom lens—maybe a wide zoom if you’re working in tight quarters—and a portrait lens to explore different perspectives. Look through the viewfinder as the light shifts, and you’ll begin to understand how composition, framing, and light interact. It’s an ideal way to get to know your camera better and, more importantly, to train your eye to see light like a photographer.

Stick with it, stay curious, and check back often—I’ll be sharing plenty of creative ideas in lighting, composition, and technique to help you grow and stay inspired.

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NOTE: My commercial contracts always include a non-disclosure agreement (NDA) between myself and the client, whether an individual or a company. If you’re entering commercial work, I strongly recommend including NDAs in all your contracts. They protect both you and your client and build trust.

Because of these agreements, I don’t share contracted commercial work. However, I share work I’ve created for myself—like listings for used gear, portraits of friends and family (with permission, of course), and plenty of beautiful scenery.

Below are three examples of the same subject/product, typical of what I photograph on my shooting table. The products may change, but the lighting and lenses stay consistent. Consistency, after all, is the secret sauce in good tabletop photography.