The Silver Spine

There are a few things I really wanted to do this year as part of my resolutions and one of those was expanding my service and business. Especially now I’m pursuing photography as a full-time career for almost three years now - I’ve been blessed to work with some of the most talented people on this earth and to be able to capture their gorgeous designs. From armor to dresses to wearable art and jewelry, pretty much you name it and I photographed it on someone.

But I can’t sit still and I’m always looking how I can expand myself and my business - and the idea of starting to incorporate “non-human” photography in my work has been on my mind for ages. So at one restless evening I decided to put things in motion. A bit before I had bought a few sheets of plexi and a mirror for some concepts I had in mind for portraiture - and I decided to use it and my broncolor gear to see what would happen if I took this gorgeous spine design by Eero Hintsanen and capture it like I would do it when a model would wear it: the light had to be pretty much perfect. And it needed some color. And I wanted to showcase all the beautiful details.

Once I got started on it - I was actually surprised on how much fun I had with this. While I still have tons to learn about it - it doesn’t feel as different as to shooting with a person as it’s all about making a beautiful composition and capturing the work.

For the actual shooting I wanted to try a few things: because the spine has such a specific look I really wanted to incorporate color into this, as it felt very otherwordly and almost like a piece straight out of a science-fiction movie. I decided for a very high key set using teal for the shadows. With the other two I wanted to explore what it would give using only white light and a reflective surface, with the other going for a very dark and monochrome theme.

The most important part for me was to explore the things I saw into my head and how I would translate this - but with the broncolor gear and some quick thinking I am actually really happy with these first results!

Currently this is becoming a quick growing part of my business and I’m already working on a ton more sessions and product shoots - so stay tuned! Video is also high on my list and I’m very excited to dive back into that as well. Really excited to share it all with you soon.

Find the blog & light diagram about this shoot here:  Wynvyre - Part 1 .   The spine worn by Luce Del Sole - Hair & Makeup by Eline Deblauwe - Dress by Maria Heller Designs - Photography & Edit by Laura Sheridan / Studio Sheridan’s Art.

Find the blog & light diagram about this shoot here: Wynvyre - Part 1.

The spine worn by Luce Del Sole - Hair & Makeup by Eline Deblauwe - Dress by Maria Heller Designs - Photography & Edit by Laura Sheridan / Studio Sheridan’s Art.


“The Silver Spine”

Piece by Eero Hintsanen
Lights provided by broncolor
Photography & Edit by Laura Sheridan / Studio Sheridan’s Art

* Click images to enlarge *

"The Phoenix Gauntlets" Collaboration: Part 1

There are just a few things that have kept my fascination since my childhood - one is (as you might know when reading my blog) my obsession with armor and swords. I have little knowledge about it but I just like it all. Kinda like most of my geeky & weird obsessions - I can’t explain it, they just crept into my head and made it their cozy home and it has given me tons of fun adventures.

Throwback to like, almost 10 years ago and the moment I discovered the work of Lumecluster - an US based allround master of her craft that is equally as obsessed (but with a hell more knowledge) with armor and all that good stuff. I lowkey kuch stalked her for years - until she somehow found me, followed me back (cue my fangirling) and we got to talk to another (cue more fangirling until the end of this blog) about two years ago. She’s been creating some insane stuff for years already prior to this - her masks started in 2014 and she “only picked up” armor around 2016. I highly recommend checking her website out to see a ton more work she has done, as it’s too much to talk about: “Lumecluster: Where dreamers find courage” !

She invited me to - what would become an almost two year - collaborative project where I would be invited to capture her newest project: the Phoenix Armore. Once she was comfortable sending me her work to photograph and capture - I would be able to do so, if I wanted of course. Needlessy to say, I was freaking hyped and couldn’t say yes quick enough. Which also tested me in my limits of “non-disclore-verbal-agreement” as I was not allowed to talk about anything just yet. For. So. Long. This is actually my very first real public announcement, together with some overhyped videos on my own profile on Facebook and a quick livestream on Instagram just now - so you go figure HOW MUCH I wanted to share this!

But today is the day and today I can finally share more about it. While I won’t showcase or tell just yet what entire project I’ve planned in collaboration with her (where she also basically gave me free reign to do anything I wanted within her concept) - I will be sharing some exquisite insights in the work I will be shooting. I must stress these are not my images and I gently borrowed these from her website and blog, which I highly recommend checking out and giving it a read as it tells a hella lot more about it all - + you can even see Adam Savage himself putting it to the test :)

The two pieces I own here are both “small” - and when putting them on I could immediately feel how much love and research went into it. Not just the gauntlets on itself - but even the gloves. What I thought where first 2 sizes (small & medium) turned out to be two times a small. And all puns intended - the second prototype felt like a glove, even being a bit on the tiny side for my big lady hands! They’re super comfortable and they work with touchscreens. How about that …

The devil is in the detail and I’m pretty sure Lumecluster has been doing a lot of exorcism to get it out there - I’m incredibly humbled to be part of such an amazing project and to continue working with her on this. There is a 3rd pair in the make (one I will commission) - so I’m incredibly looking forward to see the beauty that will be the final piece. While I don’t think it could get any better after the second prototype, I’m sure Lumecluster will do just that …

The “Phoenix Gauntlets” by Lumecluster - 3D printed iridescent armor gauntlets to suit any shieldmaiden or warrior out there who wants to stand out and don’t compensate the fantasy for reality and the reality for fantasy.

The “Phoenix Gauntlets” by Lumecluster - 3D printed iridescent armor gauntlets to suit any shieldmaiden or warrior out there who wants to stand out and don’t compensate the fantasy for reality and the reality for fantasy.

So about the gauntlets: I received two pairs. One is the golden set (shown above) which is one of her earlier prototypes and a costum-colored pair featuring a gorgeous teal and purple color theme - close to the purple & blue one shown here yet different and striking in it’s own way!

As Lumecluster is a perfectionist, one could barely see a difference at first sight. While the gold has been worn a bit and shows some imperfections (I absolutely love as they tell a new story) - the new set is pure iridescent colorgasms and I’m living for it!

When I got the box, I eagerly unpacked all the pieces. Because that’s the best part: they’re not just gauntlets. They’re MODULAR - which means they’re detachable from another and can be worn in a variety of ways: you want to go casual? Don’t wear the wrist-piece. Feeling elvish? Casually attach one of your two options and become an elf. Feeling the need to steal the show? Get the other set, turn out your led-lights and literally shine your way into reality. Not feeling warrior on a certain day? Just wear the wrist-pieces on their own. Subtile and elegant? Take your pick. Want to show off? Turn on your leds!

It’s awesome. I’m a sucker for versatility, as I LOVE re-using pieces in my sessions. She literally gave me so many options now and I can’t wait to show what I’ve been cooking up with that. The following projects are also all dedicated to showcase their assembled and individual beauty - so stay tuned for sure if you want to see some serious action!

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How it was lit: Wynvyre (part 1)

For a while I’ve been wanting to back to my “roots”  - both technically and by my artistic visions. The fantasy genre as a whole has always deeply fascinated me and it lead me to shooting an entire (ongoing) series about it called “Arcadia” . But while I love elaborate costumes and people wearing armor, using a lot of practical effects in post-processing and really pushing myself with trying out new techniques – I felt I wanted to do something both “simple” with light as directly inspired by my oldest sources of inspiration: which is “high fantasy” – specifically I wanted to go for an elven queen.

For this I asked some of my favorite people to work with: Eline Deblauwe – who has been doing all of my hair & make-up in both my paid as personal work lately and Luce Del Sole as model. Both because I call her ‘my living elf’ for her grace and beauty, but also because she had the physique I was looking for. For styling I wanted to try and capture one of my favorite designs ever made by Maria Heller Designs – who has created a modern pre-raphaelite inspired gown. Lastly – we decided to give it one final touch by adding the silver spine necklace that Finnish designer Eero Hintsanen has send me to capture – which also became a very big influence in our visual styling.

We decided to give her loose braids, wrapped around her head – mimicking the spine but also creating a crown-kind-of-effect. For the colors, the most important part of my shoots usually: we had to consider working with some more difficult to combine colors: silver & gold. Her hair feels very “golden” and we had the gold ribbon on her dress – which kind of clashed with the silver spine, we decided to make the “warpaint” silver to tie everything visually together into a cohesive set.

Technically I decided to use  my to-go-to set-up I used for the past years: using a single octabox with a move 1200 l and a giant reflector on the opposite side to ensure I had some light to bring out the details on the shadow-side. A big change for me was not working on a black backdrop; but using a dark grey to make it a more muted yet deeply, rich color.


Find the second story of this shoot here: “Wynvyre - part 2” . Links will be updated once the new blog is released!

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Gear I’ve used

broncolor move 1200L
broncolor octabox
Giant white reflector

Shot on a Canon 5D Mark III with a 50mm 1.4
Edited in Capture One Pro & Photoshop

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Credits Creative team

Model - Luce Del Sole
Makeup & Hair - Eline Deblauwe
Dress - Maria Heller designs
Spine Necklace - Eero Hintsanen
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Want to read more about this shoot? You can find a more in-depth article exclusively on my Patreon from just the 5 dollar trier as well as tons of other content! Follow this link to the article if you want to find out more about my choices.

Made with the light Diagram Creator

Made with the light Diagram Creator

- Click the images to enlarge for the entire editorial -

How it was lit: Daughter Of The Moon

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“Daughter Of The Moon” is a new one of my ongoing series “Arcadia” and is introducing a new character, of which a follow-up story will follow in the time to come as her story is far from being told. Compared to my earlier work of this series, I’m slowly introducing some “bolder” pieces - straying away from a strict painterly style only featuring people in armor as the main theme - as this series evolves with my own evolution as artist and I want to be able to work on this series for a long time to come. I will never leave it behind, but I feel the variety will only allow for a richer fictional work and fantasy series as a whole.

I’m often asked “how I find my inspiration” but honestly it’s hard to pinpoint … for this one specifically I had one of these (for once not annoying) ads on my Instagram with these “moon sphere lights” . While very sceptic about the quality with these kind of things, for the price it was and the “photoshop might save the day” approach I decided to get one of the bigger sizes and just see what would happen when it arrived.

And honestly - I was pleasantly surprised! I’ve been unable to properly capture it when light with artificial light, but in-person its actually very beautiful! Maybe at one point I might use it for my “natural + artificial light v2.0 project” - but that’s for another time.

The idea to do something with a moon has been on my mind for a while now - maybe also because I wanted to do something with my beloved star dress again from “Alice Corsets” before I give it a little break from my personal work. I never really showed it as simple as I shot here, without the cloak and without any big headpieces or elaborate styling.

As I was so heavily inspired by using the moon (and nights in general) as inspiration I really wanted to work around deep and stronger shadows - without losing any of the details or depth. It took me a while to figure out - I really want to try another session with this in the future, being much more bright in approach and maybe adding in a few more colors as well.

As far as post-processing went: when working on it I decided to make the teal to a deep blue so it would beautifully merge together with the color of the corset; as lately I’m very drawn to deep, rich colors in a monochrome approach and color pallet. The rest was minor clean-up of the skin, color toning and dodge and burn. I wanted the images to stay very minimal and without distractions.


Gear I’ve used

broncolor siros 800 L
broncolor picolight + fresnel
Colorgel (teal)
Giant white reflector

Shot on a Canon 5D Mark III with a 50mm 1.4
Edited in Capture One Pro & Photoshop

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Credits Creative team

Model - Luce Del Sole
Makeup & Hair - Eline Deblauwe
Dress - Alice Corsets
Halo - Honey & Ember
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Light Diagram

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A quick test before I called this session over was to see what would happen if I would use a second fill-light: for this I decided to use my octabox on the front left side to add in more light and remove most of the deep shadows that the softlight reflector gave. This gave a very soft light that I only edited slightly to fit to my visions. While I do like this set - compared to the earlier set it feels less “matching” to what I had visioned - so I only edited about two shots so far. I will definitely use this to create a different set in the future I’m currently working on already - featuring a more pastel, painterly vibe which will suit this light set-up much better I think.

*click on the images to enlarge*

The Silver Spine & Baroque Bodies (NSFW/Nudity)

The Silver Spine & Baroque Bodies

Working with Ivory Flame has always been a big dream of mine - which came true (just) a year ago where we created some of my favorite images still to date. We spoke about working again somewhere in 2018 when she would be in Belgium maybe, but our schedules didn’t really align for her or me, so we where just waiting for a better time. Until Ivory Flame saw that I had again some of the amazing masterpieces of Eero Hintsanen here in my studio which I was going to shoot. Over Instagram she got in touch with me asking if we could work something out and I guess - needlessy to say - I was really and totally up for that without a question! So she decided to literally hop over from the Netherlands for just a few hours of creative work.

These days I rather only work with people who really understand what I’m going but also have their own vision and aesthetic of the process and this is one of those shoots. We had less than 2 hours that day, as the train got delayed and she had to catch her last train back to the Netherlands for a really awesome shoot with Nona Limmen the day after so it was a very quick shoot with very little preparation. We did go over some ideas as we both wanted to shoot it nude and use the human body as a(n almost abstract) canvas. But I also wanted to use some of my favorite colorgels to enhance the beautiful designs Ivory Flame brought with her from the equally amazing designer Emiah.

I kind of really love short, powerful sessions like this. It doesn’t leave time to mess up and at the same time it’s a whirlwind of creative energy with some supertalented people. We ended up creating these baroque inspired images featuring curves, dramatic light and the fine art nude I love so much but also these almost fantasy-wisp vibes with flowing robes.

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Credits

Model - Ivory Flame
Jewelry - Eero Hintsanen
Lingerie & Peignoir - Emiah

Lights provided by broncolor
Edited in Capture One Pro & Photoshop

From our very first shoot, I never shared these but I hope you will enjoy a little throwback nonetheless! Featuring work from my Arcadia series: with all the armor, redheads wielding swords and being epic - but also some kaleidoscope and fractal work. And Eden Project, basically everything I’ve been working on for a while and which I’m still working on to this date.

Credits

Model - Ivory Flame
Heart Necklace - Madonna Enchanted
Collar - Monarque Jewels
Black Lingerie Set - Emiah
(Cathedral) Halo - Hysteria Machine
Armor - Mytholon