Kitchen Remodel by Custom Kitchens, and Bentwood

It’s always a good day when Jerry Wilkins of Custom Kitchens calls me up. I first heard about this project last fall, while I was in Phoenix having lunch with a photographer friend of mine. Jerry called me to tell me that they had won Grand Prize, All Categories in the Norcal Remmies (with my photos!) And he mentioned a massive kitchen remodel that they were doing over the winter.

As before, Jerry partnered with Bentwood Kitchens, in Lancaster TX, to produce the cabinetry for this job. Bentwood does incredible work, and in addition to a center island and acres of wall cabinetry, they also faced two Subzero refrigerators so well that I didn’t actually realize one of them was there.

We identified our angles, and got to work. To add some life to some of  the shots, we included a model.

As always, there was plenty of prep to be done for each shot. I think Alan worked harder on this gig than on any one we’ve done! Lots of stretching of silks, scrims, gelling lights, and of course being there when I yelled “Alan?”

How do you control reflections in shiny marble countertops? When shooting into the sun? You cheat, is how. Here’s a separate exposure being made while Alan wrangles a large piece of black cloth to block the reflections. Later, I blended the two shots together to achieve just the amount of reflection I wanted. Enough to look realistic, without being distracting. That’s an expensive piece of green rock; it wouldn’t do to have it all glare-y and messed up!


12 responses to “Kitchen Remodel by Custom Kitchens, and Bentwood

  1. great work, love the scrim idea, even just a black sheet taped up, I should really do that up here. Are these all 24 TS-E?

  2. Shot 1, is there a low powered speed-light in the drawer with ctb, or is that the natural light from the fridge? Beautiful shots as always. Scrim trick is awesome. Those “rocks” are really reflective at times.

  3. Wonderful work, Scott. But, get yourself a Kirk L plate for those vertical shots. :-)

  4. Thanks for sharing your beautiful images. I also like your scrim idea.

  5. Just to be clear — Dale was referring to a conversation we’d been having elsewhere. The black cloth shown above is not a “scrim”, but more of a “flag”. A ‘scrim’ is more like a netting, very similar to windowscreen material, which I sometimes use to cut the light coming through a window.

  6. There is one point fooling me for days. Why are you using that 24TS-E. Looking the photo #3, the trypod is very high and I suppose you are shifting down the lens. Is this correct?. If so, which is the benefit doing this instead of using a 24mm in a lower trypod?. Following, where is the benefit using a 24TS-E w/1.4 instead of using a 35mm lens?.

    • The point is the shift. There’s some pretty good blog posts that explain how this works if you search “architecture shift lens”. It’s how we control the perspective. In shot 3 (which is a BTS from shot 6), I needed the camera up high so we’d get a good perspective on the green marble. But that would have left out all the floor, and included too much ceiling. So we shift down, and get the composition you see. It gets more complex (and more interesting) than that, but that’s the basics of it.

  7. Ok, I understand. You are searching for an “aereal” perspective (in then sense of a elevated one), but corrected with the shift of the lens. Now I can see the aplication of that lenses. I think I am getting in love with perspective control lenses and I can see one of them in my future. Thanks a lot!