[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 1
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 2
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 3
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 4
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 5
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 6
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 7
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 8
[Vivian cosplay] Zenless Zone Zero Street Corner Shoot: Freezing Serene Moments Under an Umbrella - Image 9

The photo set from the 2.1 miHoYo Only event has finally reached its third installment. Back in the overall planning phase of this set with my partner, we had already set the atmosphere around a slightly mysterious, fairy-tale-like tone.

Let's talk about the makeup for this shoot. Because the character herself is designed to feel very ethereal and agile, I deliberately went with a cleaner, more matte base makeup, doing away with large areas of glitter and focusing instead on a subtle red gradient at the outer corners of the eyes. The eyeliner finish was kept gentle without over-extending, which, combined with the pale-purple highlighted wig and crimson pupils, fairly and completely recreated that still, serene aura of holding an umbrella alone at midnight.

For the costume, the cuff closures and fabric pairings were quite intricate—the cuffs of the white shirt needed to look fluffy without appearing bulky, while the patent leather skirt and corset reflected exquisite texture under outdoor lighting. I spent considerable time styling the wig; its curls were crucial, needing both a natural drape and distinct layers and density so that the hair strands maintained a graceful shape even when holding the long-handle umbrella across various action angles. The combination of platform crisscross-strap shoes and the Purple stockings outfit on my feet was also an essential component in shaping this character's image.

The lighting on the day of the shoot was actually quite tricky; we walked back and forth several times between a yellow perforated metal wall and a convex mirror. Master Longxiang's control over ambient lighting was truly impressive, guiding me on how to interact with the environment throughout the shoot. For example, when opening the umbrella standing by the dark car body, positioning the umbrella rim's shadow right across my face created a textured interplay of light and shade. The Itasha wrap on the black car body reflected natural light very evenly, harmonizing with the purple-and-black umbrella and giving the image's color saturation a rich, enduring appeal during this Itasha outdoor photoshoot.

The core prop of this photoshoot was this custom umbrella, which actually felt quite weighty in hand. In the shots taken on the hood and car roof, the lens compression from low-angle or eye-level perspectives was exceptionally pronounced. To make the leg lines and the texture of the Purple stockings outfit clearer in the frame, we adjusted the framing multiple times. For instance, when sitting on the hood with legs extending forward or crossed, catching the light properly on the stockings added a much better sense of visual elongation. We switched positions several times—between the hood, driver's cab, and side doors—repeatedly searching for the angle that best caught the light, a process that lasted several hours.

Because outdoor shooting comes with many uncontrollable factors—passersby on the street, distant building reflections, and so on—a lot of fine details were still preserved beautifully thanks to prior conceptualization and subtle post-processing color temperature adjustments. In particular, the folds of the skirt while seated and the sheen of the white shirt fabric both exuded a premium tactile quality. I feel that cosplay is sometimes not just about putting on a costume, but rather about leveraging the surrounding environment to let a 2D character breathe with authentic life in a 3D real-world space.

I used to think outdoor photoshoots were exhausting, but the satisfaction of capturing beautiful shots is truly rewarding. Looking at the finished photos of my umbrella-holding silhouette and the reflections cast before the large mirror, it feels as if I'm walking right through the interstitial space between the character and real life. The best way to thank the photographer is to continue honing my craft and bring even more breakthrough photos and creative scenes next time. I hope to always maintain this pure passion in future cosplay creations.