[Giant Buddha cosplay] Sakamoto Days dark style cosplay photoshoot record

This shooting mainly revolved around the dark style of Giant Buddha in Sakamoto Days. For the clothing, I chose a black see-through lace top spliced with a velvet-textured long skirt. The lace pattern is quite intricate. The breathability when worn is okay, but the edges of the lace are slightly hard, so you need to adjust carefully when raising your hands to avoid snagging your hair. The velvet fabric of the lower half of the skirt has a great drape, and the waist-cinching design can elongate the overall proportion. Outside, it was paired with a white lace veil, and the embroidered patterns on the edge are very delicate. This strong contrast between black and white is the visual focus of this styling. To make the veil drape naturally, a lot of bobby pins were used to fix it to the wig before shooting, so that it wouldn't slip off even with larger movements. The wig chosen was long straight black hair with blunt bangs. The length of the bangs was trimmed in advance to be just above the eyes without blocking the line of sight. For the props part, a suitcase and a gear device were prepared. That large gear is made of hard material and feels quite heavy in the hand, with some metallic-textured painting on the edge of the gear texture. When shooting the action of holding the gear, to ensure the muscle lines didn't look stiff, photographer Xiao Z asked me to exert force with my fingertips, turn slightly sideways, and use light and shadow to outline the contour of the arm, while my gaze looked through the gap of the arm. The texture of the suitcase is good. When lifting it, combined with the see-through lace of the upper body, it can add a bit of mystery, and the muscle lines of the arm will also naturally tighten when lifting heavy objects. During a break in the shooting, I also grabbed a ring-shaped puff pastry bread as a prop, which just neutralized the overall overly stern atmosphere, resulting in a miraculous sense of cuteness. The scene setup follows a route combining retro and machinery. On site, there were dark red curtains, brass candlesticks with crystal pendants, as well as metal boxes in the background and industrial-style wall lamps. The lighting engineer used a lot of warm yellow side-backlighting, shining on the lace and veil to make the texture of the clothes very clear, while the dark parts of the background were cast very deep. This bright-dark contrast can highlight the subject. When shooting next to the candlestick, the warm light hit the face, which, combined with the red curtain, made the overall tone very rich. In terms of makeup, the red smudging around the eye sockets was highlighted, paired with light-colored contact lenses, making the gaze look a bit more indifferent. The base makeup was applied relatively white, basically forming a strong contrast with the black skirt. The eyeshadow used a reddish-brown tone, brushed in a large area on the eye sockets and under the eyes, adding a bit of a tipsy or exhausted feeling. During the shoot, to match this atmosphere, my expression control tended to be as calm and blank as possible, avoiding too many exaggerated expressions on purpose. Most of the time, it was slightly raising the chin or slightly tucking it in, looking straight into the camera. The entire shooting process went relatively smoothly. The retro warm light and dark gothic style have a very high adaptability, and the classic match of black lace and white gauze is also very photogenic. When holding the gears and mechanical devices, the body needed to be tightened a bit to stabilize the center of gravity, so my arms were slightly sore after the shoot. Because there are quite a few props, special attention must be paid to the safety of the props when changing poses to avoid bumping into them. In the process of controlling facial expressions and body movements, I was also slowly experiencing the unique texture of this dark style.