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character: meltryllis_(fate), copyright: fate_(series)
1girl, solo, meltryllis, long hair, very long hair, purple hair, blue eyes, blue ribbon, hair ribbon, wedding dress, white bridal gown, bouquet, holding bouquet, both hands, two hands, looking back, turning head, over shoulder, smile, closed mouth smile, from behind, over-shoulder composition, standing, church interior, stained glass, aisle, backlight, lace, trailing veil, cinematic lighting, depth of field
Over-shoulder composition from behind her, low camera close to her waist height, lens slightly to her left: her back fills the left two-thirds of the frame and her head is turned over her right shoulder toward the lens, chin near her shoulder, eyes blue and bright under lowered lids, lips closed in a small self-satisfied smile, one brow faintly raised. Long purple hair pours down her back past her hips, glossy, a blue ribbon tied where a loose half of it gathers high behind her head, the rest falling over the white satin of the gown and catching a thin rim of window light; the ribbon's ends trail over one shoulder blade. She wears a white wedding dress — a strapless bodice fitted at the waist, long lace sleeves that cover her wrists and reach past her fingers so the lace hems hang as she grips, the skirt full and pooling at her feet on the stone aisle, a soft veil pinned low and spilling down her back over the train. Both her hands are brought together in front of her body at waist height, cradling a rounded bouquet of pale cream and lilac flowers with their green stems wrapped in white ribbon; her fingers close on the wrap and on the lace hems at the same time, and because her head is turned we see only the tops of the blossoms cresting past her right hip, while the rest of the bouquet is hidden by her body — its perfume-soft silhouette visible, her grip on it read in the tension of both forearms and in the slight pull of the lace across her knuckles. Her weight rests on her left foot, right heel lifted a little out of the stone, the skirt distorted by the shift. Around her the church opens: a long stone aisle running to a lit doorway far beyond her, rows of dark pews receding on both sides, and tall stained-glass windows along the right wall throwing deep blue and violet light patches down onto the flagstones, one patch lying across the pool of her skirt. The window light is the only source that matters — it comes from behind and to her right, so her back and the veil glow, the far side of her face falls into soft shadow, and the light scatters through the lace sleeves, printing a faint lattice of shadow onto the white satin beneath. The flagstones run dull cool grey in the foreground and warm up toward the far door; deep blue, violet and white are the whole palette, the ribbon and the glass answering each other. Shallow depth keeps the far pews soft while the lace in her hands stays sharp. Serene, quietly triumphant.
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character: meltryllis_(fate), copyright: fate_(series)
1girl, solo, meltryllis (fate), long hair, very long hair, purple hair, blue eyes, blue ribbon, hair ribbon, wedding dress, white dress, bridal veil, smiling, tears, crying, tears in eyes, looking back, from behind, over-shoulder composition, holding bouquet, flower bouquet, both hands, church, indoors, stained glass, wedding, bouquet of white roses, back turned toward viewer, head turned over shoulder, from below, cowboy shot, soft light
The camera sits low and behind her, a from-below over-shoulder composition: the viewer looks up the aisle past her back as she turns her head over her right shoulder toward the lens. She has turned away from the altar and toward the frame; her body faces the church doors, feet set in white heeled shoes on the worn carpet runner, weight settled on her left foot, her right toe pivoted half-around on the flagstone edge. Her very long purple hair falls in a loose fall down her back, tied with a blue ribbon at the crown of her head, and swings forward over her right shoulder as she turns, a few strands catching across her cheek. The dress is white, floor-length, with a long train bunched and pooling at her heels behind her, the skirt bodice fitted at the waist with the veil pinned at the back of her head and falling in a soft translucent cascade down her spine. Her face is shown in profile-over-shoulder view: wet blue eyes open, lashes beaded, two clear tears running down her right cheek and one about to fall from the corner of her chin, a gentle closed-lip smile with the corner lifted faintly. Both hands are clasped low in front of her waist, gripping a bouquet of white roses and pale green foliage, fingers curved around the wrapped stems, the ribbon streamers of the bouquet hanging across the front of her dress. Her hands leave a slight compression on the bouquet wrap where her fingers close. The church interior runs down the aisle behind her: rows of dark wooden pews receding, a tall arched window with stained glass above the altar, flagstone floor, stone columns to the left and right, the red carpet runner down the aisle with the petals she scattered the length of it — pale pink and white petals scattered slightly unevenly down the aisle and lifted just at the train hem where the air moved as she turned. The light comes from the stained glass window at the far end of the aisle, behind her back and above, warm and cool mixed — blue and gold and rose — falling across the back of her veil, lighting the top of her purple hair, throwing a glow on the flagstone before her, and leaving her face in soft lift from the side. Beyond the window light the church falls to soft shadow. Palette: purple hair and blue ribbon against the whiteness of the dress and veil and the white roses, with the deep wood of pews and the blue-gold-rose of the stained glass in the background, and the carpet's red as the only saturated warm accent. Quiet, tender, full of held feeling.
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