[Shu Cosplay] Cosplay Narrative with Large-Scale Scenes, Restoring Vitality and Character Essence

Does Cosplay really have to be about headshot close-ups? I posted a set of greeting photos yesterday, and the comments I received left me somewhat speechless. Some commented, 'I can tell it was taken by a male photographer,' 'It would be better without the person,' or even directly concluded, 'Definitely found a male photographer, right?' Seeing this feedback, I felt a bit helpless, but upon reflection, it pushed me to re-examine my understanding of Cosplay photography.

In my view, the core of Cosplay is that 'restoration is greater than mere visual beauty.' This restoration doesn't just mean that costumes and props are made to look similar, but also restoring the unique 'temperament' and 'soul' of the character in our hearts. The consensus between the photographer and the Coser on the character is the foundation of a good shoot. Just like this set of photos, the photographer and I had a clear consensus during our pre-shoot discussions—for example, our understanding of Shu is 'vitality standing between heaven and earth,' our understanding of Lin is the 'materialization of etherealness and freedom,' and for Lin Yuxia's Lieyaotai, we wanted to express that 'ascension to immortality' detachment.

Since our goal is to capture these grand concepts and emotions, conventional lens language isn't necessarily applicable. To embody the vigor and vastness of life, or to show the transcendence of ascension, the most direct and effective audio-visual expression is to place the character into a large scene. Therefore, the wide-angle, long-distance, and small-person-proportion compositions you see now were deliberately designed for this 'character trait.' I personally love this kind of large-scale narrative; in my view, the strong integration of the character and the environment has more visual tension than a simple pretty face shot, and it tells a story that belongs to the character better.

Of course, I must say that headshot close-ups can certainly be taken; in fact, I reserve a large number of close-up shots in every one of my sets to show exquisite makeup details and emotional close-ups. But I don't understand why close-ups and large scenes have become tools to pit one against the other? There is no problem with liking beautiful and cute faces; I also like looking at other people's beautiful close-ups. But I hope that those Cosers who prefer large scenes and like to use the environment to depict characters can receive the most basic respect. Every character has the most suitable way to be presented; not all characters have to rely on close-ups to act cute, and not all scenes prohibit the character from being small.

Cosers who create with heart, whether using close-ups to show exquisite makeup or large scenes to挥洒 character temperament, are essentially 'generating power with love.' I hope the circle can be more inclusive and have fewer stereotypes and hasty conclusions. Photography technique is just a carrier; deep and sincere love for the character is the true confidence we have the moment we press the shutter. I am very happy to share with you, through this set of large-scene photos, the 'Shu' in my heart who combines vitality with nature.