[Kanami cosplay] Esports-style experience at the Strinova booth

This time, shooting Kanami's feature photos at the TRYX Dimension Era GaLa Anime Exhibition was a very special experience. The details of this costume are quite rich, especially the pink-and-black patchwork belt at the waist and those small metal pendants. When walking around the convention, I had to adjust their positions at any time to ensure they presented the most perfect state in front of the lens. The pink fingerless gloves on the hands paired with the black mesh sleevelets added overall layering, while the white over-the-knee boots with pink triangular patches, although indeed a bit tiring after walking for a long time, had a very obvious effect of elongating leg lines when shooting full-body photos. The venue setup fit the character's sci-fi feel exceptionally well, with cool esports equipment everywhere. We took a few sitting shots on an orange gaming chair, and posing on it gave off a strong esports girl vibe. I also took a green check-mark round badge as a small prop and tried a few dynamic poses in front of the booth. To match the booth's background, I deliberately swung the long pink ribbons behind me, and the photographer captured the moment the fabric fluttered, a sense of dynamism that I really like. The equipment used this time was the SONY A7M5 body and the FE 24-70mm F2.8 GM II lens. The lighting at the anime convention scene is actually quite complex, with main light sources and various neon lights intertwining, and the large-aperture lens played a huge role in capturing catchlights in the eyes and showing the texture of the costume. The pink-purple light from the booth hit my silver-white twin-tails, which, paired with bright blue contact lenses, presented a color contrast that was extremely eye-catching. In front of that pure white and fluorescent green patchwork booth with glowing text, we shot a full-body composition; the clean background made the main black, white, and pink color palette of the costume stand out even more. In the rest area, I even borrowed a water cooling radiator's packaging box as a shooting prop, which fit right in with the geeky atmosphere of the venue when held in front of me. When sitting on the ground shooting close-up portraits, with hands extended forward, the lens clearly recorded the texture of the gloves and the exquisite makeup. To maintain the three-dimensional feel of the twin-tails and the ahoge on top of my head, I remained very careful at the venue, fearing that passing people might bump into them. Regarding makeup, since it's easy to get oily under strong light, the frequency of touch-ups was relatively high. We shuttled between various booths looking for shooting spots, and the pleats of the skirt had to be rearranged every single time. The whole shooting process was about constantly communicating camera angles with the photographer, utilizing on-site props and lighting to present the costume's tailoring and material highlights from different angles.