As well as documentary style photography, Hartgrove also contributes studio photography to “InkSpired” magazine.
This article is from Issue 40, and the images showcasing the hats which are being explored are all studio based images, with a white backdrop.
Although these are studio images, they still feel very similar to Hartgrove’s documentary images, as they aren’t heavily manipulated or hugely posed, which is what you would expect from a studio shoot. They still have a sense of innocence and “real people” that his other images allow you to feel.
He also took this cover image for the “Best Of” Issue. This is a location image, however there does seem to be flash added in, to allow for her hair and tattoos to really pop. There also seems to have been manipulation post production, which is different from his other work, however it seems to be justified being a cover image.
Furthermore, in the article below, he has also strayed from the documentary side to produce a studio style boudoir style shoot.
I feel he has used a combination of flash and ambient lighting in these images, as a lot of the light seems to be coming from the large window, however the lack of shadows suggests that there is a separate, more continuous, light source. However, I don’t feel the flash would have been very strong as there is a lot of white in this setting, therefore both the light sources would have reflected off of the white surfaces, making the images even brighter.
Hartgrove also took this cover image of Chester Bennington from Linkin Park, and went on to take some studio style images for the corresponding article.
These images seem, again, to be a combination of ambient lighting and flash, perhaps also using reflectors to ensure that the tattoos really stand out and are very high in contrast, especially if Hartgrove knew he was going to be converting them to black and white. I particularly like the first image as the tattoos are very heavily contrasted and I feel it really allows for an audience to gain interest and speculate about those tattoos when the image is not in black and white, for example, the colours they have, their meanings, etc. Furthermore, this prompts a reader to read on.
In issue 37, Hartgrove again provides images with a combination of flash and ambient lighting, although these are definitely a less harsh use of flash compared to the Chester Bennington series. The use of flash in these I feel are just to make sure the make up and tattoos are being shown at their full potential, and to show off the model’s body, and without flash there may be shadows that hide certain areas of this.