How it was lit: Wynvyre (part 2)

In my previous blog I shared the first part of this session I shot with some of my favorite people - while my original intent was to work with just one light on set; I found myself incredibly inspired by how everything came together and I wanted to try something I wanted to do and try for a while: how does light (the absence) of light affect a shoot when shooting the exact same concept and styling? How does color changes the mood? And what would happen if we add more lights to enhance details in hair and make-up?

This session was perfect for it - as it had a beatiful hairstyling by Eline that would look incredible when using some backlit light; with also the red of the dress being an amazing combination with teal, my favorite kind of colorgel to use. While our first set was a minimum set-up of only using one broncolor light and an octabox; I’ve used almost my entire set of lamps for the following session: a siros 800 with a softlight reflector, my picolight with a fresnel and the move 1200 l with the octabox. I also changed the backdrop from dark grey to black - as I wanted just a minimum of “color bleeding” to distract from my subject. Lastly I kept the reflector on the right to ensure there wouldn’t be too many deep shadows.

It’s a set-up I never tried before - but I really loved how it all came together, better than I had anticipated in advance actually: I decided to use my picolight with fresnel on the left as the main highlight point of my image - giving just a little bit more strength so it would draw our eyes first there. Because broncolor their gear allow me to go even a tenth of the strenght, I could really work it in detail how much I needed, while equally doing the same on the other side to ensuring that my softlight reflector would give enough strength without dominating the scene. I wanted both lights to give a backlit feel in the hair and give a beautiful rimlight on her face and body.

To compensate the mostly backlit set, I used the octabox to fill in the remaining of the portrait I was taking - as I still wanted all the details of the make-up, hair and and styling to be clearly seen.

In post-processing I only enhanced the colors, mostly the red and teal, finished with some minor dodge and burn and cleaning up some distractions. For this capture one pro has been a massive gamechanger as I’m able to work much more in depth with my color work without affecting the quality of my images.


Want to read more about part 1? You can find my first blog where I shot the same set with just one light and a reflector by clicking the link!

LucyWarrior10.jpg

Gear I’ve used

broncolor move 1200L + octabox
broncolor picolight + fresnel attachment
broncolr siros 800 L + softlight reflector p
Giant white reflector

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

***

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

Light Diagram

Made with the light Diagram Creator

Made with the light Diagram Creator

My Home Studio: Part 1

- Want to see where I work? Check out part 2 here: my home office -

A lot of people seem to think I have this giant space. I do not. I actually never had more space then those 2 converted bedrooms I work in now and not so long ago I rented a small, bedroom sized commercial space. And even before that, I used to work in my studio between my bed and desk. And going even further back, I had to sit on my bed to even be able to shoot a half body. I started working with clients in the time I had a one-room living studio space. Good times.

I think space, as a whole, is something I’m right now in between proud and embarassement. It’s small and it’s stuffed full because I got too many awesome costumes and props and an amount of lights I’m not really able to place around yet have been managing kinda okay actually - considering where I got through that road in the past 3, 4 years of doing this studio stuff.

So right now, have an introduction in my space part 1! The next blog will be about my office, the one I’m working on right now while writing this and basically doing everything else when I’m not shooting in my studio or somewhere on an other location for the job.

But let’s talk about my magical place right now where I create about 99% of my work for the past 2 years that you see and probably has brought you to this blog all the way: Our appartment right now is pretty big, which means I was able to not only take one, but two bedrooms for my professional purposes of photography and everything surrounding it - which has been absolutely amazing as I never had this much space and even though right now I’m really feeling it’s limitations - I love the simplicity because it gives me a constant purpose to motivate and push those edges in all directions. There is nothing more, it’s all I have. And it has learned me to think only within the frame of my camera, not outside of it.

I also got pretty good at figuring out space-management, which was until not so long ago owning between 300 to 400 costume pieces (including as far as 8 sets of armor), a bunch of lamps & modifiers thanks to the GenNEXT broncolor program, a ton of material like my giant reflector (I use to avoid light bouncing off my wall) and way too many colored backdrops. An ikea wardrobe became a partial costume storage (also becoming an awesome interior styling thing), holding also a ton of modifiers & props I use during shooting and other technical equipment - finished with a piece painted by my dear friend Shienra featuring “Triss Merigold” from the Witcher. Behind my backdrop I have my own armor and weapon armory (that 1m35 backdrop hides three full sets of plate armor, way too many fake and real weapons and some loose pieces for example), the corners have been transformed to one side some more light equipment and my authentic harpoon (yup) while the other is the “backdrop spot” where I can easily pick and store anything I don’t use.

When I’m not using my lamps; I usually store them all in front of my backdrop - keeping 2/3rd of my studio free which is easier to clean and keep track of; but when I’m working I usually put them on my left when shooting as they’re not in the way of either myself or the set.

Against my “free” wall I have stored some mannequins, which is just easier to store another 2 sets of armor. They also hold some stools to sit on - but it’s also where I often put my main light; which is why I don’t bother to cover that wall as the light comes from that direction anyway. The other side I have my (by accidentely way too big) reflector; which is my most beloved thing now because it doubles both as anti-light for deeper shadows but also as a bigger and especially higher backdrop when my model(s) and/or sets are too tall. Two-in-one is awesome.

And that’s about it. Do I want a bigger space? Please yes. I REALLY do. But until then, it’s my cozy space.
Am I a bit embarrased and shy to share this finally? I actually do. It feels in a way unprofessional to share how small and humble my space is to be honest, but at the same time: this is what it is. I don’t nééd more to be able to do what I do and I know once I hit a new chapter in life - one with hopefully a bigger space - I am aware how lucky I am to have it and how many crazy opportunities that is giving me. And I can basically work almost anywhere by now because I’m not bothered as much by what (isn’t) there.

The entrance to the studio of my alternative reality from day to day.

The entrance to the studio of my alternative reality from day to day.

My studio: 1m35 of colorama paper fun I have worked on since the earliest days of purchasing this in 2015. I went through about 3 black backdrop rolls by now - but most of my rolls have been going strong since the start. it’s pretty crooked - but I don’t cut it off unless it’s like literally falling apart from (ab)use as I don’t always shoot full body and backdrop paper is expensive … Currently it has two new holes into it due to yesterday’s evening shoot (woops).  The studio holds the following equipment: a broncolor siros 800, a move 1200 with 2 lamps, a beautydish, an octabox, two stripboxes (30x120cm on permanent lamps - my other is folded up and away), there is also a para, a picolight with various attachments and some various stuff that is either brandless or fun tools.

My studio: 1m35 of colorama paper fun I have worked on since the earliest days of purchasing this in 2015. I went through about 3 black backdrop rolls by now - but most of my rolls have been going strong since the start. it’s pretty crooked - but I don’t cut it off unless it’s like literally falling apart from (ab)use as I don’t always shoot full body and backdrop paper is expensive … Currently it has two new holes into it due to yesterday’s evening shoot (woops).

The studio holds the following equipment: a broncolor siros 800, a move 1200 with 2 lamps, a beautydish, an octabox, two stripboxes (30x120cm on permanent lamps - my other is folded up and away), there is also a para, a picolight with various attachments and some various stuff that is either brandless or fun tools.

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

***

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

***

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*