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 *

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!

LucyWarrior3.jpg

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

lighting-diagram-1547393769.png

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*

How it was lit: Fervor - Artifical & Natural Light

How it was lit: Fervor

My first time using artificial light on location

It’s been a few weeks since I’ve done this shoot, but I’m so happy I can finally talk about it: my very first time using artificial light outside. When I became a broncolor GenNEXT ambassador, I quickly knew I wanted to have the possibility to work outside as well – as I felt that was something I rarely did anymore. Mostly because I felt uninspired and I love how I’m able to use artificial light to create certain moods and feelings – but it was something out of my reach. This entire set was shot with a Siros 800 with just one modifier (a Softlight Reflector with diffuser) and being able to just pack it up and go is pretty mindblowing. Everything is battery charged and I made it through the entire session with just two, with the second still going strong and steady.

For this specific shoot I had some of my favorite people on set: Eline Deblauwe who was taking care of hair and make-up, my gorgeous muses Luce Del Sole & Van Spooky Pants, with dresses by Church Of Sanctus – a London base independent vegan brand – and amazing jewelry by Finnish designer Eero Hintsanen.

For this one I only took one modifier with me – as I had this idea to create very deep and contrast like images with the urban location we had in Antwerp: which was the Siros 800 and the Softlight Reflector with a diffuser. I did my first try with Spooky and it took me a bunch of attempts to figure out the “how” as the first images looked like the (what I don’t like) typical look I see very often with artificial light outside.

Try-Outs.jpg

It all came together the moment I positioned my model against the beautiful, strong evening light we had on that fall day and I used the light to fill in my model rather than to use it as a main light. And that was basically the magic I was looking for. The first try (with Spooky) resulted in some heavy chromatic aberration (which I’ve been able to work away), for the second shoot I positioned my model in a more overcast setting and used the shadowplay of the building we where shooting under for a different kind of look.

I positioned my light mostly on the left, angled up at a 45 degrees downwards while the rest of the image was mostly lit by the evening light. It resulted in a deep, contrast like set of images without losing any details and an absolute minimum for editing. Most I had to do was color conversion and adjustments to contrast and light – with just a few minor distraction removals.

And on that note: The Siros 800 is an absolute beast - the HS (High-Speed) was able to balance out the beautiful evening light and merge both light sources together. It is definitely visible it’s not only using natural light, but it doesn’t has this overpowering feel to it like in my first tests and that was the look I was going for.

Lane1.jpg

I shot a second set near the water, which was a bit more tricky as I had more natural light and the sun was setting, but again I was able with some minor adjustments to get it all done and ready to shoot with a similar set-up as before. As before, in post-processing I barely had to do any editing as everything just flawlessy came together on set.

I will be going outside again shortly to try more of this, this time with colored gels and/or more modifiers but that will be for another blog. Thank you for reading and I hope you enjoyed!

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How It Was Lit: "Aeons Of Light"

One of the best parts in this industry is the ability to sometimes meet people and work together to create art. In august back I had the amazing opportunity to work with the amazing Royal Black Couture, who visited me for two days of insane creation and connecting over a mutual love for art and beauty. While I had worked various times before withher, this was the first time we met up in person and real life in my studio in Antwerp.

If you’re not familiar with Royal Black Couture - here is a quick introducton: Royal Black Couture is a designer from Austria (not Australia!) who specialises in corset couture, but also gowns and costumes. My admiration / obsession with her work started in my very early stages in my creative aspiring career as she’s a major voice within the industry due to her incredible eye for design, detail and perfect execution of each of these pieces as well.

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