For today's set of Seed photos, the outdoor location was chosen in a blooming white-flower grove. Before heading out, checking the weather forecast made me worry that the light would be too harsh, but fortunately, when we arrived, the sunlight filtered through the tree canopy, casting only gentle dappled light on the ground. The material splicing of this outfit is very special; the upper body uses translucent PVC material paired with a black lining, giving off a soft reflection under the sunlight. The metallic collar and wristbands are key highlights among the props, and I specifically reinforced them once more before departure to prevent them from falling off while walking outdoors. The light cyan wig was styled with braids and hairpieces, with a small white flower pinned to the side, creating a visual echo with the sea of flowers in the background.
In terms of makeup, to fit the cool and detached color palette, the base makeup was applied very sheer and light, with the focus placed on the eye makeup. The bright blue colored contacts were highly pigmented in the outdoor light, and the outer corners of the eyes were given a slight smudging to make the gaze look sharper. The entire shooting process was mainly divided into three scenes. The first was on a park bench where I reclined halfway, extending my arms upward as much as possible. The wind was quite strong that day; to capture that moment where light and shadow intertwined, the photographer had me hold the pose for several seconds. Although my arms felt a bit sore, seeing the interplay between the translucent layer of the garment and the light and shadow in the raw photos made it feel especially worthwhile.
The second shot was a half-body close-up. Crouching in the grass at the time, I picked up a few fallen small white flowers to hold in my hand, touching my forehead with a finger while looking straight into the lens. Shooting close-ups tests expression management and gaze the most. To ensure facial smoothness, the jaw needed to be slightly tucked, while balancing the gentleness and strength of the hand gesture.
The third was a metal railing scene. To break away from conventional composition, we chose a tilted angle, placing the focus on the leg lines and strapping details. Because the character setting is barefoot, stepping on the metal railing was icy cold and hurt my feet; to maintain body balance during the shoot, my leg muscles were kept tense throughout. However, the tilted composition nicely showcased the leggings and black strapping on the lower body of this costume.
Before shooting, I communicated at length with the photographer, wanting to collide a sci-fi and techwear-inspired rugged style against a very natural and soft environment like a flower sea; this sense of contrast was what I most wanted to express this time. The outdoor temperature was actually quite high that day; wearing clothes with this kind of spliced fabric offered mediocre breathability, and the collar around the neck had considerable weight, requiring deliberate control of neck strength when doing head-tilting movements to prevent wardrobe malfunctions or warping. The sleeves and gloves on my arms used many concealed snaps for a snug fit, taking quite an effort to tidy up each time.
Outdoor shooting is truly a test of physical stamina, especially wearing costumes with metal accessories and walking around barefoot outdoors. One frequently encounters various unexpected situations like wind-blown hair or sudden darkening of the light, but it is precisely these uncertainties that make the ambient vibe of the final photos much more natural. This photo set preserved the original setting's techwear style while blending in the softness of natural light. This shoot was a great attempt at controlling costume details and utilizing light and shadow. Every shoot is not only about presenting the character, but also about honing one's own physical endurance and expressive power, hoping to present the absolute best state.