The numerous cosplay photography archives that litter the web have provided the world with images of some fantastic costumes. ‘Participatory fandom’ is becoming increasingly mainstream , and nowhere is fandom more overtly expressed than in costume.
These online archives are not only evidence of the act of costuming, but also of the importance of recording costume events. Attendees at events like Comic Con may take the role of cosplayer or spectator, and both are equally as important to the fan community. Rauch and Bolton argues that ‘the cosplayer is really only half the equation: the other half is the cameraman (or woman), and there is a strong sense that the photograph is the privileged end product of the entire enterprise’ . The spectator is a voyeur, and a record-keeper, enjoying and preserving the spectacle.
As in fashion photography, there is an ‘underlying assumption that the clothes exist to be photographed as much as to be worn’ . Cosplayers have invested time, money and effort on their costumes, and are keen to preserve this demonstration of their devotion to a source text.
The term ‘cosplay’ does not solely refer to the wearing of a costume. The ‘costume’ is only one half of the story – ‘play’ (or ‘role-play’) being the other. Photographs can preserve both the costume and the role-play, often in the form of a complete recreation of a frame from a comic or film. This act becomes a collaboration between cosplayer and photographer, as they stage a replica of a fictional scene.
Posing for pictures in this way grants fans closer involvement with the source text. It provides opportunities to demonstrate familiarity with minute details of the object of their fandom, thereby enhancing their status in the fan community, and also for the fan too more deeply embody his favourite character. In collaboration, the photographer and cosplayer work to ‘erase difference’ between the posed and original scene .
The desire to recreate perhaps stems from the origins of cosplay. Nicolle Lamerichs identifies it as a convergence of 1960s/70s Sci-fi fandom practices and ‘the tradition of Renaissance fairs and historical reenactment, as well as later practices such as live-action role-playing’ . In all of these related practices, participation is a combination of costume and action, in which participants aim to remain ‘in character’.
 McCudden, Michelle, Degrees of Fandom: Authenticity and Hierarchy in the Age of Media Covergence, PhD thesis, University of Kansas, 2011, p. 2.
 Rauch, Eron, and Bolton, Christopher, ‘A Cosplay Photography Sampler’, Mechademia 5, 2010, pp. 176-190, p. 176, doi: 10.1353/mec.2010.0027
 Jenkins, Henry, Textual Poachers: Television Fans and Participatory Culture, New York: Routledge, 1992, as cited in Josh, Stenger, ‘The Clothes Make the Fan: Fashion and Online Fandom when Buffy the Vampire Slayer Goes to eBay’, Cinema Journal, Vol. 45, No. 4 (Summer 2006), pp. 26-44
 Lamerichs, Nicolle, ‘Stranger than fiction: Fan identity in Cosplay’, Transformative Works and Cultures, Vol. 7, 2011, p. 2, doi:10.3983/twc.2011.0246
Black Widow cosplayer: http://geekxgirls.com/images/blackwidow2/blackwidow_cosplay_01.jpg
Supermen (left to right): http://www.fortressofbaileytude.com/supermanpodcastnetwork/?p=3197 ; http://www.organiconcrete.com/wp-content/uploads/2012/10/superman-alex-ross-2.jpg ; http://www.acparadise.com/ace/picview.php?p=s3422_355042&s=751#.UWW8K473C_E ; http://www.acparadise.com/ace/picview.php?p=s4515_667846&s=751#.UWW5rY73C_E
Superman v. Scoprion cosplay: http://cosplayquest.deviantart.com/art/Cosplay-Scorpion-and-Superman-293912338