Let's talk directly about the shooting concept for this Tushan Honghong photoshoot. The costume is primarily a white base with red and blue dual-color piping, and the belt specifically features a long red strap where both the drape and color contrast match the character's classic design. The wig is a long orange-toned blonde hair with blunt bangs in the front, while the low ponytail in the back is secured with a red cord, fitting the character's personality quite well. To match the character's identity, the makeup adopted cool-toned blue pupils, with the eye makeup slightly deepened to present a relatively sharp visual effect under the lighting.
The wood-carved floral cabinet background used during the shoot carried an inherent classical and heavy texture, originally intended to capture a subdued indoor ambiance. In the first raw photo, the subject sits on the floor with the left leg extended forward and the right leg bent, one hand bracing the ground while the other hand is raised near the face. This posture was mainly designed to showcase the tailoring of the costume's hemline and leg contours, paired with ankle chains and white thin-strap high-heeled sandals; the overall composition left a large area of ground reflection, yielding a strong spatial sense while making the costume's material clearly visible.
In the post-processing stage, to fit the Fox spirit lore, multiple giant red plush tails were added, along with fox fire and floating orange particle special effects in the air. The glowing special effect raised by the hand was added during post-processing to simulate the materialized effect of spiritual power. A red-purple halo was also added to the ground to elevate the fantasy feel of the entire frame. I am actually not very skilled at post-processing involving such grand fantasy elements, so I tried numerous iterations on color blending and light-and-shadow adjustments, hoping to ensure the tails and light effects wouldn't look too jarring while preserving real physical lighting and shadows.
In terms of poses, to prevent the tails from looking too flat, the post-processing composition intentionally adjusted the layering and angles of the tails so they formed a certain visual guidance alongside the extended legs. Dozens of raw photos were taken, and we ultimately selected this posture because it possessed tension without making the body structure appear rigid. Although accompanying this photo set with Tushan Honghong's copywriting is done, I am well aware that gaps still exist in terms of temperament and details, hence the apology for OOC. I have always deeply loved this character's lore, not just the external wardrobe styling, but also the decisiveness and depth in her personality. Every time I do a cosplay, I try my best to approach the character's vibe—from trimming stray wig hairs to controlling the curving arc of each finger—hoping to present an effect that best matches the original artwork's ambiance. This photo set took quite a long time from preparation to post-processing, fulfilling a personal wish of mine.