Attach two facial reference photographs — female subject first, male subject second. Preserve both faces exactly: bone structure, skin tone, features, age.
Indian woman, 28, third trimester at approximately 35 weeks, standing with her body angled away from camera at forty-five degrees and her head turned back over her left shoulder toward the lens, chin level, eyes open and looking directly into camera with a closed-mouth smile that has just begun. Her weight is on her back right foot, left heel lifted slightly as if arrested mid-step. Indian man, 31, standing a full arm's length behind her and slightly camera-left, body squared to her, one arm extended so his fingertips have just caught her left elbow — the lightest possible contact, not a grip. He is looking at her, not at the camera, mouth relaxed and almost smiling.
She wears a soft sage-green chiffon maternity gown, sleeveless with a wide square neckline and an empire waistband tied high beneath the bust. Below the waistband the chiffon falls in loose vertical columns that drift away from the body, so the abdomen is described by the fabric's outward curve rather than by cling — the silhouette bells outward at the apex and the fabric hangs free below the underside. The empire seam sits above the widest point and gathers into fine radiating pleats where it's drawn tight. A long floor-pooling train trails behind her toward camera-right, still moving from her arrested step, the chiffon translucent enough that the light passes through the outer layer at its edges. He wears a plain white linen shirt, sleeves rolled to mid-forearm, tucked, and light stone trousers.
Two hands only in the frame. Her right hand rests flat and high on the upper slope of the abdomen, fingers together, sage chiffon sleeve absent so the bare forearm reads clearly. His right hand is the extended one, fingertips only at her elbow, white cuff at the wrist — the bare arm and the white cuff make ownership immediately legible. Her left arm hangs relaxed, hand out of frame. His left arm hangs at his side.
A thin gold chain at her throat, two gold bangles on her right wrist, small gold studs. Hair drawn back into a loose low bun with two strands escaping at the temple.
The background is not a white surface — it is white light filling the air of a deep studio space, brightest directly behind her head and falling to the faintest pearl grey at the lower frame corners.
Soft directional light from camera-left at forty-five degrees, at her eye height. It builds a clearly lit plane across the front of the chiffon and lets the far side of the gown fall into a soft cool grey — the pale fabric must hold visible tonal separation between its lit and shadowed planes, never blowing out to flat white. A second soft light from behind camera-right skims a bright rim along her turned shoulder, the line of her jaw and the trailing edge of the train, and passes through the translucent chiffon at the hem so the outer layer glows faintly. Beneath the outward curve of the abdomen, where the chiffon leaves the body, sits a soft occlusion shadow in the fabric's underside — the darkest point in the frame and the element that gives the form its volume.
Skin rendered with visible pore texture, fine facial hair and natural variation. No retouching, no digital smoothing.
85mm, f/2.8, camera at her chin height, framed from mid-thigh up with the abdomen at frame centre, her face in the upper third and his face slightly smaller and deeper in the frame. Minimal headroom. Ultra-photorealistic, fine film grain. No photography equipment visible in frame.
