Chroma

Chroma

About white backdrops, pastel colors and channeling colorful aliens - yet again.

If you want to create shots with the same light-setup and see a full breakdown, I recommend heading over to “GenNEXT broncolor: Chroma” blog !
This blog is here to tell some backstories and show the full set of images!


This is something I wanted to do for a very long time but never got around too again: challenging myself to do something new with colorgels. On a white backdrop. Because it’s my least favorite thing to ever work with as I find it so freaking difficult to light it all pretty and nice - mostly because I do feel the limitations of having a small, bedroom converted studio (for now). But challenges are there to be tackled and I guess there was no better timing then now: Agnieszka Osipa was so kind to send me a whole bunch of outfits to play around with, including these gorgeous “armor gauntlets” as I will call them for now and a blue with gold kokoshnik inspired piece.

For this set I knew I needed a model who could do all the things with “hands” so I asked My Fragility to come channel her inner alien yet again (like in “Starstruck”) and we got to work. With a simple dress from my own wardrobe we completed both looks as I wanted something elegant and simple - mostly because I wanted to have the focus on the pieces and without too many distractions.

I ended up with some really awesome sets, shot in a small studio space with colorgels - creating a pastel painterly set of images. I’m actually pleased with how this turned out and I do like a white backdrop just a little bit more now.


Credits

Models - My Fragility
Hand armor & Kokoshnik - Agnieszka Osipa
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Gear

Canon 5D Mark III
Canon 50mm 1.4 & Canon 24-70mm 4.0
broncolor Siros 800 l + Octabox 150cm
broncolor move 1200 + softbox 60x100 & 30x120

Retouching

Overall colour toning and post-processing happened in
Capture One Pro. Cleaning & final toning happened in Photoshop.

Some before & after with the behind the scenes. I noticed that with the blue set, the blue was hard to control but it was there - instead of blowing it out, I decided to work and simply saturate the blue in post-processing as it was a quick and easy solution. Same was for the other set. Everything was edited in about 15 minutes each once I got the toning done, both in Capture One as Photoshop.

The Wayfarer

The Wayfarer

“This is Antwerp” series in collaboration with Giulia Danese

This is a series I wanted to start on for a while already in my beautiful town of Antwerp: there is something about this place here I love. A lot. It’s history, it’s architecture, it’s love for culture, the always changing scenery from old to modern and everything in between. It has some iconic backdrops and spots - and I’m not talking about the cathedral alone - though that’s definitely a highlight - but spots like this gem have made my heart sing ever since I discovered and worked there. My first shoot was in 2012 I think and I kept it around for once I have those epic concepts.

One of those was with Giulia Danese, we intended to work together for ages but somehow it never happened as either I got fully booked or she got a lot going on. The usual “universe creating chaos” stuff. Totally fine as I’ve already learned that if things are meant to happen, they will happen. And on a personal note I always add “I usually only get better” (because I’m such an obsessive compulsive creator that needs to constantly see improvement or I will get even more eager to create). So there is that.

When we did get around to it, I got to borrow two gorgeous designs of her - which I immediately knew I wanted to put on my dear friend Luce Del Sole. A bit like most things, but mostly because she has that elegance and grace I needed when climbing and having on old cranes (well at least when we are seriously working together … half of our shoots are usually derp photos).

Also as usual: I decided to quickly edit some outtakes that didn’t make the final cut for various reasons. Mostly because the colors where just not what I wanted but that light and frame was just too lush to pass on. I have a lowkey obsession with these gritty, noise black-and-white photos.


Credits

Model - Luce Del Sole
Makeup - Saartje Van Den Haute
Dress - Giulia Danese
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Gear

Canon 5D Mark III
Canon 50mm 1.4 & Canon 24-70mm 4.0
broncolor Siros 800 l
broncolor Softbox 60x100

Retouching

Overall colour toning and post-processing happened in
Capture One Pro. Cleaning & final toning happened in Photoshop.

* Click images to enlarge *

Ena - Inspired by Ophelia

“Ena”

Inspired by Ophelia and Preraphaelites

People always ask me where I get my inspiration from but honestly: it kind of just escalates and somehow I always end up finding the right locations and people. Call me the luckiest photographer on earth for knowing so many awesome people … This was one of those shoots:

I was working on a new story for the GenNEXT broncolor blog for august, so I reached out to some of my favorite people asking if I could pull any of their awesome designs. One of them is the amazing Eero Hintsanen who kindly borrowed me three of his designs yet again, including this awesome spine necklace I’ve been obsessed with for longest of times. Of course I knew I had to do something more (basically me organising as many shoots as possible …) with it and like many, the aesthetics and story of “Ophelia” deeply inspired me. While originally I had another story in mind involving water with the jewelry, when I heard Mara had a swimming pond I decided to turn things around and shoot there, creating this story with flowers and that slight touch of the macabre with the spine. I love bringing in these small details and I guess my love for the macabre and horror will always kind of creep in (no pun intended).

Also I think one can never go wrong with preraphaelite inspired things. I’ve been branching out a lot lately but this has been a forever love for me since the early days I started doing this. So I’m happy to share this with all of you! Hope you all enjoy it as much as I do.

Much kuddos to my berserk team and the people for having us in their pond!

MaraOphelia4.jpg

Credits

Model - Illyria Okami
Assistance - Chloë
Halo - Honey & Ember
Spine Necklace - Eero Hintsanen
Photography & Retouch - Laura Sheridan / Studio Sheridan’s Art

Gear

Canon 5D Mark III
Canon 50mm 1.4
broncolor Siros 800 l
broncolor Softbox 60x100

Retouching

Overall colour toning and post-processing happened in
Capture One Pro. Cleaning & final toning happened in Photoshop.

* Click images to enlarge *

Our beautiful location we got to shoot in & a simple light set-up. I used a broncolor siros 800 l with a 60x100cm softbox. Currently my to-go-to setup as it’s so easy and versatile for any kind of shoot.

My models are freaking awesome for doing this. Here is Mara getting ready to go in the pool and Chloë being the assistant-in-peignoir for the second set.

Collaborations: How to start

Collaborations

How, where and when to start in the creative industry

One of the best and most “affordable” ways to build a portfolio featuring amazing creative or fantasy designs (beside renting) was reaching out to others through the internet. In fact, it’s also what made the entire foundation of what the studio is right now - it did take about almost ten years roughly from when I started serious until what it is now. It was definitely a road where I’ve learned a lot, by experiencing, making mistakes, listening and doing this. But it’s been one of the most wholesome experiences of my entire career and I would love to talk more about it!

Before I continue, I want to address two very important factors:

1. Cheap doesn’t mean it’s free: While I did say it’s a more affordable option over buying, it is still an investment. And it takes a lot of work, time and communication to ensure all parties are happy: so I will be breaking it all down in a few articles to come for all for all of you! But it’s a hell lot of fun, it can be way more affordable than buying - though I also highly recommend doing this as well.

2. This is my experience: so it’s slightly biasedd on what I’ve heard from designers and have learned. While I try to write this as objectively as possible - the golden rule to always keep in mind is that people may have their own system and you’re working with another person. Stay polite, stay honest and stay true. That’s half of the work already no matter the case.

So what ARE collaborations?

A collaboration is when two or more people decide to team up together for unpaid, on one or multiple projects to bring an idea to life, either national or international or a combination. In a case of international collaborations, usually item(s) are shipped to each other but I’ve had various cases when I teamed up with international models that brought pieces with them when they traveled to me too work on ideas.

Collaborations are an amazing opportunity to meet new people, create work of entire new levels and as a way to challenge yourself and each other to create epic new work for yours and theirs portfolio. For others it’s a way to break away from client assignments or to try & learn new techniques to showcase and attract new clients. And for others it’s a creative breath of fresh air.

The core is always the same: it’s to create new work on unpaid or tf base to add to one’s social media, website and ideally (online) portfolio.

When & how do you start with these?

Honestly and in theory: you could start at any time with this, even if you just picked up a camera. But in practice, there is a bit more too it: You’re working with other people so it’s not simply a matter of “ask & receive” - but a matter of “ask and work for the team greater good” and being aware you will most likely be reaching out to complete strangers to trust you and send you something to shoot that needs to be send back unharmed.

When reaching out a first time, make sure you have at least some (recent) examples of your work. It could be your website or just your Instagram even or even just a collage showing some examples. Keep your message straight and short and explain you’re interested in collaborating - if you have a theme or concept, add it straight away as well in a line or two. And ask if they would be interested. Like I said: nobody needs an essay. Just make clear who you are, what you want and what you have to offer (both as person and with your work).

I cannot stress enough that when reaching out, you’re probably working with strangers at first. Your interaction matters just as much as the results: be patient and understanding, even if you receive a “no” answer or in cases: not even a respond. Nobody owes you to send free items to shoot and you’re the asking party. While I get this is frustrating - you don’t know what’s happening behind the screens. Maybe they forgot, maybe they don’t do well with sending a negative respond, maybe they are tired of too many requests, maybe you didn’t read a FAQ or bio where they state they don’t do collabs or tf, maybe something came up, … There are plenty of reasons and in the best case - you simple leave it there as well. It’s definitely not ideal and I will be honest I don’t always respond either anymore in times when it’s just too much or many; but on the other hand I’m also a firm believer that we are allowed silence at times even if social media makes us believe we don’t.

A collaboration from not so long ago between myself, Royal Black Couture and Tinotenda Mushore

A collaboration from not so long ago between myself, Royal Black Couture and Tinotenda Mushore