He builds his lighting around banks of 1x4- and 1x2-foot Kino Flo fluorescent strip lights configured in a triangle or square that he places close to the set to frame the subject’s head. Standing behind the lights, he shoots through a triangular or square opening, just feet from the subject. His lighting is bright, even, and soft, but with a brilliant crispness that’s strikingly flattering. For women, this lighting usually fills in every shadow, rendering complexions smooth and wrinkle-free. “For men, I often don’t fill from the bottom. I like men to look a little rugged. I like to see the detail in their faces, and don’t mind lines and other imperfections. It gives them character,” he says.