Use the attached image as facial reference. Preserve the model's exact face, skin tone, bone structure and features accurately throughout.
WORLD: A dark studio space — deep hunter green atmospheric air filling the space. The floor is the same deep green — a dark seamless studio surface. The bride is seated on the floor at the center of the frame, and the lehenga spreads outward from her body in a perfect full circle filling the lower 60% of the frame. The camera is positioned on a high boom arm — steep downward angle, not quite overhead, but close.
POSE: She is seated cross-legged at the center of the lehenga circle — the lehenga arranged symmetrically around her. Her back is straight. Her head is slightly bowed — chin dropped 20 degrees below level, looking downward toward her own lap. Her right hand is raised, her right wrist bent — fingers of the right hand touching the left side of her jaw delicately, the rings and haath phool visible from the steep overhead angle. Her left arm rests in her lap, left hand open and relaxed on the lehenga fabric. The dupatta is draped over her head and falls symmetrically — visible from above as a soft line down her center.
COSTUME: [Deep red silk lehenga with dense gold zardozi embroidery in large mandala and floral motifs] — the embroidery is the visual star of this image, seen in full from the steep overhead angle. The lehenga spreads in a mathematically perfect circle — the embroidered panels radiating outward from her seated body like the petals of an enormous flower. [Matching red and gold dupatta] visible from above as it drapes over her head and falls down her center. [Deep red and gold embroidered fitted blouse] visible from above at the center of the circle.
JEWELRY: Complete bridal set — all visible from steep overhead angle: [polki and ruby choker] on the throat. [Long layered haar] visible falling down her chest. [Elaborate maang tikka] visible from above on the parting of her hair. [Gold nath] visible in profile. [Gold jhumka earrings] just visible below the dupatta edge. [Gold bangles] visible on both wrists. [Elaborate haath phool] visible on the right hand raised to her jaw — the most visible jewelry element from this angle.
SETTING: Layer 1 — the bride at center, the lehenga circle spreading to fill the lower frame, the embroidery detail sharp and individually visible. Layer 2 — the edges of the lehenga circle where the fabric meets the dark green studio floor, the contrast between the red silk and green floor sharp. Layer 3 — the deep hunter green atmospheric air surrounding the circle — the studio space above and around her fading to near-black at frame corners.
LIGHTING: A single warm amber light source positioned directly above the bride — overhead, slightly forward. The overhead light pours straight down onto her — the top of her head, the maang tikka, her raised right hand, and the center of the lehenga circle all catch direct amber warm light. The embroidery at the center of the circle is most brilliantly lit — individual gold zardozi threads catching the overhead light and blazing. The embroidery toward the edges of the circle falls progressively into warmer shadow. The green studio floor between the circle edge and frame edge is in deep shadow.
CAMERA: 85mm equivalent. Boom arm positioned high — camera angled downward at 65-70 degrees. NOT directly overhead — the bride's face must be partially readable, not foreshortened to abstraction. 8 feet from subject to capture the full circle. f/4.0 — the entire lehenga circle in focus, the embroidery detail sharp from center to edge.
Ultra-photorealistic. The lehenga circle must read as real fabric with real weight and real embroidery — not as a flat graphic. The overhead angle must not distort her face. Film grain. 4:5 ratio image.
