This Tartaglia shoot actually took quite a long time from early preparation to execution. To restore the character's trait of being effortless yet carrying a dangerous aura, we made some attempts in scene setup. The first set is in front of the bar counter, with a wine cabinet background lit by green and blue lighting. To capture that relaxed feeling of being in total control, I tried adjusting the posture of holding the wine glass many times; the pressure of the knuckles needed to be just right—not gripped too tightly, while also preventing the glass from slipping. The gaze needed to maintain a calm sense of oppression, using subtle adjustments of the chin angle to make the facial contours sharper under the lighting. The suitcase and poker chip props on the bar counter were specially selected to have some metallic luster to present a realistic texture, and the reflected light on the tabletop happened to echo the facial fill light, enhancing the three-dimensionality of the frame.
The second set of styling focused on the moment of taking off the coat. The lines outlined by the black leather chest harness, matched with the waist-cinched shirt, can wonderfully showcase body proportions. To match the thick heavy chains behind me and the strong backlight, I turned my body sideways, utilizing rim light to outline the character's edges. The swaying direction of the long coat actually coordinated with the wind channel of a blower; finding the right center of gravity was necessary to make the clothes flutter naturally without looking stiff. The blue-glowing device on the belt had its angle fixed with tape before shooting to ensure it could become the visual focus in the dark environment. This action looks easy, but in fact, the waist needs to maintain an arched posture throughout, which still heavily tests core strength after finishing a set.
The third set styling holding a polearm demands even higher control over the limbs. This spear is relatively long; if it is to look light in front of the lens, the grip method of the wrists and the exertion point of the shoulders are crucial. When holding it, you shouldn't grip it to death; the fingers need to be slightly staggered to maintain joint flexibility. During the swinging motion, you must use the rotation of the waist to drive the arms so that the attack trajectory looks smooth. To match the interwoven red and blue lighting effects, the highlight position of the face also needed to be adjusted by moving the light fixture to make the shadows on the side of the face more prominent, increasing the tension of the battle. That floating red long ribbon in the frame was completed by two fine lines guiding it plus a side-blowing hair dryer, and during the shoot, constant attention had to be paid to make sure the ribbon didn't block the face or the weapon.
Usually when cosplaying such a popular character, aside from the hard metrics of costumes and props, I feel the hardest part is actually the control over subtle expressions. The wispy trimming of the wig needs to ensure it won't collapse under long-time shooting, and the pigmentation of the contact lenses also needs to be able to instantly catch the eye in both strong and dim light environments. Just like I often think: how long has it been since I last saw master? The next time I spar with her, I hope to at least force her to use both hands to deal with me. This kind of subtext from deep within the character often helps me find a more accurate exertion point and gaze direction in front of the lens, making the whole set of photos more storytelling.