Shooting this night scene photoset of Misaki, the overall idea was to do something different from studio shoots. The location was chosen on the midnight streets after the Foshan CPG08 convention ended, focusing on the texture of a real outdoor location. Hearing everyone say that the Chairman is so full of charisma, I was actually quite happy inside. To match this vibe, a lot of preparation went into everything from makeup and hair to props.
Let's talk about this blue-and-white maid outfit first. To avoid looking dull in the night scene, I deliberately chose a high-contrast deep blue, paired with white puff sleeves, lace trims, and an apron. The blue bow at the neckline and the black leather collar are the finishing touches. On top of the head, besides the black cat ears, I also wore a silver crescent-shaped headpiece and a blue bow hair ornament, and the hair was specially styled into twin-tails. The most troublesome part was actually that black fluffy tail behind me; when walking and sitting down, I always had to be careful not to crush it, and the red bow and golden bell tied to it were very conspicuous in the lens. There was also a bulky white fork prop; this thing is actually quite heavy to hold in hand, but to restore the character's signature element, I had to carry it the whole time.
Outdoor night shooting tests lighting the most. The midnight asphalt road itself is very dark, and the background streetlights naturally formed circular bokeh light spots. We laid a piece of white plush carpet on the road surface as the shooting area. To ensure that the character's facial and clothing details were clear, the main light source had to be sufficient, while still preserving the night scene tone of the background. The four different poses had completely different requirements for the light positions and the photographer's composition.
The first picture features me sitting on the ground pulling the blue ribbon on my leg, mainly to showcase the details of the white long stockings while utilizing the extending lines of the legs to stretch the depth of the frame. The second picture has me kneeling on the blanket hugging the large fork; this action required spreading out the skirt and ruffles as much as possible to make the overall silhouette look fuller. The third picture is standing up holding the fork and making a V-sign, making the person look relatively lively, which is also a common energetic state in convention photos. The fourth picture is sitting sideways on the ground, with one hand close to the neck and knees slightly bent. I personally am quite satisfied with this pose, because the side angle nicely showcases the tailoring of the costume and the leg curves wrapped in white stockings, and the gaze, matched with blush makeup, exudes a quiet yet slightly mysterious temperament.
To match the character setting, I deliberately intensified the red shading around the eyes and cheeks in my makeup, paired with red contact lenses, so that the face would have a strong visual focal point even under night lighting. When taking photos, I not only had to strike poses but also pay attention to expression management; for example, when kneeling and hugging the fork, I needed to look a bit obedient, while standing and holding the props allowed me to let go more, striving to get close to the character's unique personality tension.
Shooting by the roadside at midnight is indeed very exhausting—dodging occasionally passing vehicles, resisting the nighttime low temperatures, and carrying bags of clothing and props back and forth. But when seeing the light and shadow effects on the camera screen and the strong visual contrast of the white blanket on the asphalt road, I felt that all the physical effort spent was completely worthwhile. As a coser, rather than simply putting on clothes to check-in, I value more whether the texture of the props, the atmosphere of the scene, and the character's demeanor can be combined together. This outdoor shoot can be considered a satisfying answer sheet handed in by myself.