This Phrolova photoset has finally met everyone. The preparation period for the whole set of photos was about two weeks, with main efforts placed on the detail processing of the costume and the matching of scene materials. To present the character's traits of fragmentation and gorgeousness, this time a white-toned off-the-shoulder dress was chosen. This skirt contains many elements of tulle, lace, and ruffles; to support the fluffiness of the skirt, petticoats were added inside. The lower body is paired with white lace pantyhose featuring intricate patterns, and on the feet are red platform high heels; this red-and-white color clash has extremely strong visual tension. The headpiece is composed of red ribbons and petal-shaped fabric pieces, combined with a light green long wig with partial pink streaks, giving the entire head styling a strong sense of volume.
Makeup heavily focuses on the eye area. Red contact lenses paired with a large area of red-brown blending around the eyes enlarged the eye contours. The most crucial stroke was the red tear stain drawn below the right eye; to make it look natural and fit the high-definition image quality of the shoot, I mixed lip gloss and eyeshadow to create that slightly moist-looking red. The arrangement of the shooting scene was quite complex, with a huge gear clock face in the background, a black cross standing next to it, surrounded by scattered black birdcages filled with red rose vines and purple flower clusters. These props combined with dark-toned light and shadow create a depressing yet extremely aesthetic dark gothic atmosphere.
The biggest challenge encountered during the shoot was posing and adjusting props. Because the skirt hem is very large, when sitting on that black high-backed chair with red velvet upholstery, to prevent exposure and showcase the layers of the skirt, it was necessary to pinpoint the muscle-fending points of the legs. The few photos holding the violin and playing required controlling the angles of the bow and the body of the violin, while coordinating with head tilting and shoulder relaxation to truly present that dreamy state of being immersed in music. Those red ribbons and flower decorations actually tangle together easily; every time a pose changed, the falling direction of the ribbons needed to be rearranged to ensure the linear sense of the frame.
Besides static sitting poses, there are also a few full-body photos standing next to stairs and pillars. Treading in platform high heels back and forth in this scene covered with floor tiles and maintaining body balance was a test for the calves. There is also that photo looking back over the shoulder with back facing the camera; because the back features a backless design, coupled with the weight of the long braids, turning the head required lowering the shoulders and slightly backward-bending the spine to form a tense S-shaped curve. The entire shooting process lasted from noon to evening, and the lighting engineer spent a lot of time adjusting the main light source and background light, especially the backlighting effect of the clock face, which required repeatedly testing the position of the shading board to achieve the ideal light ratio.
Seeing that in the final photos, the texture of the white dress, the lace pattern of the stockings, the red high heels, and those dark elements blended together perfectly, all the prior efforts put into adjusting the costume and poses paid off. Being able to showcase another side of the character in this way is a very fulfilling thing.