Face reference:
Use the attached image as facial reference. Preserve the model's exact face, skin tone, bone structure and features accurately throughout.
Era/World context:
A private residence drawing room, mid-century in character — dark wood paneling, gilt-framed oil paintings, an ornate carved door standing ajar. Not staged as a museum; lived-in, slightly worn at the edges, the kind of room that has held decades of afternoons like this one.
Pose:
She is seated deep in a worn velvet armchair, weight sunk back into the cushion, spine relaxed rather than upright. Her left arm rests along the chair's arm, hand loosely open, fingers slightly curled. Her right hand rests on her knee, wrist turned inward. Her head is tilted very slightly to her left, chin level, not lifted. Her gaze goes toward camera but past it — steady, unbothered, not performing. Lips closed, faint asymmetry at one corner suggesting she was about to speak and stopped.
Costume:
A cream silk blouse, top two buttons open, collar loose and slightly folded outward. The silk is fine-weight — it catches light in soft liquid highlights across the shoulder and collarbone, falling to matte shadow in the folds of the sleeve. Sleeves are full through the upper arm, gathered at a plain cuff. No structure at the waist — the blouse is untucked, falling loose.
Jewelry:
Small gold drop earrings, catching a single point of light each at the lowest curve of the drop. A thin gold chain at the neck, mostly lost in shadow beneath the open collar, one link catching light where the collarbone meets the throat. No rings, no bracelet — the jewelry stays minimal so the silk and the light carry the frame.
Setting — three depth layers:
Layer 1 (sharp foreground): the armchair, her figure, the edge of a side table with a curved brass lamp base, unlit.
Layer 2 (soft midground): the carved wooden door standing partly open behind her, warm light bleeding through the gap; a gilt picture frame just visible at the edge of frame, glass catching a soft blur of window light.
Layer 3 (deep background): a hallway beyond the door, suggested only as warm haze and a soft vertical line of a window frame — enough to suggest the house continues, not enough to resolve into detail.
Lighting:
Late-afternoon sunlight enters through the gap in the door at a low angle. It does not fill the room evenly — it finds specific surfaces and ignites them: the crown of her dark hair where it catches a warm rim, the curve of her collarbone, the liquid sheen of the silk at her shoulder. Everywhere else — the far wall, the lower half of the chair, the floor — settles into soft warm shadow, brown-gold rather than grey. The effect is a room mostly in restful dimness with light seeking out only what is alive in the frame: skin, hair, fabric sheen.
Camera:
85mm lens, camera at seated eye-level, three-quarter framing from mid-thigh up. Shallow depth of field — she is entirely sharp, the door and background fall into soft blur by Layer 2.
World rule:
No named public figures, no brand references. No visible photography equipment in frame. Shadows stay warm throughout — no cold blue-grey. The room must read as genuinely inhabited, not a showroom or a studio built to look like a room.
Technical line:
Ultra-photorealistic, film-grain texture, warm sun-seeking light on hair and fabric, 85mm, f/2.5. 4:5 aspect ratio.
