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.