This shoot was set in an unfinished concrete building, aiming to use the rough texture of concrete to contrast the exquisite feel of the Neon Genesis Evangelion characters. We reviewed many reference photos beforehand and ultimately decided to utilize the geometric lines of the building itself to compose the shots. The shooting day was overcast with very soft light, which was actually quite beneficial for shooting without having to heavily compress contrast. We mainly utilized camera shutter speed and a smaller aperture to keep both main subjects within the same depth of field, while the high-and-low positioning on the stairs gave the composition a better sense of space. Concrete pillars served as foreground framing to focus the viewer's gaze on the two of them.
Speaking of makeup and styling, Rei Ayanami's short blue hair and Asuka's orange-red long hair stood out vividly against the gloomy gray environment. The dark green uniform paired with over-the-knee Black stockings created a unique tension amid the unfinished concrete pillars. The wrinkles on the clothes and dust on the stockings also provided the source of authenticity for this set of photos. There was plenty of rubble and dust on site, so we were truly walking on eggshells during shooting for fear of soiling these delicate uniforms, but thinking again, this combination carrying a hint of dilapidated charm was precisely the atmosphere I wanted.
This time the tone was predominantly cool; post-processing deliberately lowered blue saturation to make the images calmer and more subdued. We also ran into minor issues during shooting, such as scaffolding shadows falling across the subjects' faces, requiring continuous adjustments of camera positions and angles to avoid them. When composing, special attention was paid to the edges of the figures to ensure the subjects were entirely within the frame for easy post-cropping. On an overcast day where sunlight barely penetrated, this diffuse light was perfect for shooting Ruin style, avoiding crushed blacks or blown-out whites. To control exposure properly, we did a few test shots before entering the building and adjusted the color temperature. Furthermore, such complex architectural structures easily create messy horizontal lines, straining my eyes trying to find proper angles in the viewfinder.
What satisfied me most this time was the composition of the dual high-and-low positioning—well-staggered, carrying both a sci-fi vibe and a touch of everyday detachment. To ensure symmetry in narrow spaces, we scouted many angles beforehand, even climbing onto the side scaffolding to check the field of view. The cosplayer for Asuka was also fantastic, standing on the steps for a long time without complaining of fatigue. We scouted the venue beforehand and found that this unfinished architectural structure had great framing potential, capable of capturing that sense of oppression. In particular, the first-floor pillars sliced the frame into several sections, making them ideal foreground elements.
During shooting, a 50mm prime lens was mostly used, utilizing a wide aperture to blur the background, which, paired with the characters' cold, stern expressions, conveyed the mechanical, icy texture of Neon Genesis Evangelion. To highlight the lines of the legs, the skirt hem length and stocking height were specifically adjusted. The lighting was quite variable that day; whenever a cloud passed, the lighting ratio changed, requiring parameter adjustments on the fly. This styling was actually quite cumbersome to wear; just styling the wigs and straightening collars took a lot of time, but fortunately the final photo vibe made all the hassle worthwhile. Seeing these semi-finished shots, I felt all the hard work paid off. After finishing this set, we quickly packed up and headed home.