Lunghezza focale – speciale ritratti

Sommario

• /24mm · Grandangolo^[4] 24 mm
• /50mm · Normale 50 mm
• /200mm · Teleobiettivo^[2] 200 mm
• /macro · Macro 1:1

Come è costruito il comando

Nei tre ritratti scena^[9], luce e guardaroba sono ripetuti parola per parola. Il pareggio è marcato dentro il testo perché non passi in secondo piano: ⚠️ HER HEAD FILLS EXACTLY THE SAME AMOUNT OF THE FRAME[10] … THE FRAMING DOES NOT CHANGE.

Poi la distanza scritta in metri invece che in aggettivi: about half a metre from her face. «Vicino» il modello se lo interpreta da solo.

E la sezione che dichiara l’effetto atteso, WHAT THE WIDE LENS DOES TO HER, and it must be plainly visible, seguita dalle tre cose che devono comparire. È il controllo scritto dentro il prompt: se il naso non è più grande, il comando ha fallito e lo vedi guardando.

/24mm · Grandangolo 24 mm

La strada si apre verso i due bordi e corre via piccola in fondo, le spalle si allargano, naso e fronte stanno più vicini all’obiettivo. Il prompt lo chiede in una sezione apposta: WHAT THE WIDE LENS DOES TO HER, and it must be plainly visible.

Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 330 parole

La mossa che c’è dentro. La deformazione non è chiesta come aggettivo ma come distanza: the photographer standing about half a metre from her face. Il pareggio dell’inquadratura^[3] è marcato dentro il testo con ⚠️.

Il prompt

A PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. AND NO CAMERA, LENS, TRIPOD, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE, and no part of the photographer either. THE OPTICS: a very wide lens, and the photographer standing about half a metre from her face — close, because at that focal length he must come close to fill the frame with her. ⚠️ HER HEAD FILLS EXACTLY THE SAME AMOUNT OF THE FRAME AS IN THE OTHER PICTURES OF THIS SET — a chest-up portrait, the top of her head a hand's breadth below the top edge. THE FRAMING DOES NOT CHANGE. Only the optics change, and that is the entire point of the photograph. WHAT THE WIDE LENS DOES TO HER, and it must be plainly visible: her nose and her forehead read LARGER than life because they are nearer the lens, while her ears read small and set well back; the sides of the frame STRETCH outward so her shoulders splay; and the street behind her opens up enormously and runs away tiny into the distance. THE SCENE IS THE SAME IN ALL SIX PICTURES: she stands in the middle of a long straight street of pale stone buildings that recedes far away behind her, under an even overcast mid-morning light. Nothing about the light or the place changes from one picture to the next. WARDROBE, FIXED AND THE SAME IN ALL SIX PICTURES: a matte black tailored blazer over a plain white crew-neck t-shirt, dark charcoal trousers. Nothing shiny, no pattern, no logo, no jewellery except one thin flat gold chain. No evening dress and no bare shoulders. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, long wavy dark-brown hair, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with the faintest half-smile.

Lo stesso comando, da riempire

Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto^[5] non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.

A PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. AND NO CAMERA, LENS, TRIPOD, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE, and no part of the photographer either. THE OPTICS: a very wide lens, and the photographer standing about half a metre from her face — close, because at that focal length he must come close to fill the frame with her. ⚠️ HER HEAD FILLS EXACTLY THE SAME AMOUNT OF THE FRAME AS IN THE OTHER PICTURES OF THIS SET — a chest-up portrait, the top of her head a hand's breadth below the top edge. THE FRAMING DOES NOT CHANGE. Only the optics change, and that is the entire point of the photograph. WHAT THE WIDE LENS DOES TO HER, and it must be plainly visible: her nose and her forehead read LARGER than life because they are nearer the lens, while her ears read small and set well back; the sides of the frame STRETCH outward so her shoulders splay; and the street behind her opens up enormously and runs away tiny into the distance. THE SCENE IS THE SAME IN ALL SIX PICTURES: the subject stands in the middle of [LUOGO CON PROFONDITÀ: una strada dritta, un corridoio, un molo] that recedes far away behind them, under an even overcast mid-morning light. Nothing about the light or the place changes from one picture to the next. WARDROBE, FIXED AND THE SAME IN ALL SIX PICTURES: [GUARDAROBA: un capo sopra e uno sotto, opachi, senza fantasie e senza logo]. Nothing shiny, no pattern, no logo, no jewellery except one thin flat gold chain. No evening dress and no bare shoulders. [NOME], the person in the supplied reference photograph, their face unchanged: [ETÀ] years old, [CAPELLI: lunghezza, forma, colore], [DUE O TRE TRATTI DEL VISO]. They look into the lens, calm, with the faintest half-smile.

Per usarlo su altro. Sostituisci soggetto, guardaroba e luogo nei segnaposto^[6]. Nel prompt il luogo è una strada dritta che si allontana; con luoghi senza profondità non l’abbiamo provato. Se il soggetto non è una donna, cambia anche i pronomi.

/50mm · Normale 50 mm

Le proporzioni senza alterazioni. Il prompt lo dichiara due volte: WHAT THE NORMAL LENS DOES: nothing. e This is the neutral picture, the one the other five are measured against.

Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 308 parole

La mossa che c’è dentro. L’effetto dichiarato è nessun effetto, scritto per esteso invece che omesso.

Il prompt

A PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. AND NO CAMERA, LENS, TRIPOD, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE, and no part of the photographer either. THE OPTICS: a normal lens, the photographer standing about a metre and a half away. ⚠️ HER HEAD FILLS EXACTLY THE SAME AMOUNT OF THE FRAME AS IN THE OTHER PICTURES OF THIS SET — a chest-up portrait, the top of her head a hand's breadth below the top edge. THE FRAMING DOES NOT CHANGE. Only the optics change, and that is the entire point of the photograph. WHAT THE NORMAL LENS DOES: nothing. Her proportions are exactly as the eye would see them standing there — nose, cheeks and ears in true relation, no stretching at the edges of the frame, and the street behind her at the size and distance it really is. This is the neutral picture, the one the other five are measured against. THE SCENE IS THE SAME IN ALL SIX PICTURES: she stands in the middle of a long straight street of pale stone buildings that recedes far away behind her, under an even overcast mid-morning light. Nothing about the light or the place changes from one picture to the next. WARDROBE, FIXED AND THE SAME IN ALL SIX PICTURES: a matte black tailored blazer over a plain white crew-neck t-shirt, dark charcoal trousers. Nothing shiny, no pattern, no logo, no jewellery except one thin flat gold chain. No evening dress and no bare shoulders. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, long wavy dark-brown hair, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with the faintest half-smile.

Lo stesso comando, da riempire

Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.

A PHOTOGRAPH. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. AND NO CAMERA, LENS, TRIPOD, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE, and no part of the photographer either. THE OPTICS: a normal lens, the photographer standing about a metre and a half away. ⚠️ HER HEAD FILLS EXACTLY THE SAME AMOUNT OF THE FRAME AS IN THE OTHER PICTURES OF THIS SET — a chest-up portrait, the top of her head a hand's breadth below the top edge. THE FRAMING DOES NOT CHANGE. Only the optics change, and that is the entire point of the photograph. WHAT THE NORMAL LENS DOES: nothing. Her proportions are exactly as the eye would see them standing there — nose, cheeks and ears in true relation, no stretching at the edges of the frame, and the street behind her at the size and distance it really is. This is the neutral picture, the one the other five are measured against. THE SCENE IS THE SAME IN ALL SIX PICTURES: the subject stands in the middle of [LUOGO CON PROFONDITÀ: una strada dritta, un corridoio, un molo] that recedes far away behind them, under an even overcast mid-morning light. Nothing about the light or the place changes from one picture to the next. WARDROBE, FIXED AND THE SAME IN ALL SIX PICTURES: [GUARDAROBA: un capo sopra e uno sotto, opachi, senza fantasie e senza logo]. Nothing shiny, no pattern, no logo, no jewellery except one thin flat gold chain. No evening dress and no bare shoulders. [NOME], the person in the supplied reference photograph, their face unchanged: [ETÀ] years old, [CAPELLI: lunghezza, forma, colore], [DUE O TRE TRATTI DEL VISO]. They look into the lens, calm, with the faintest half-smile.

Per usarlo su altro. Stessi segnaposto degli altri due ritratti. Nel prompt questo è il termine di paragone della serie.

/200mm · Teleobiettivo 200 mm

I palazzi dietro di lei stanno grandi e vicini alle spalle, e la strada non si rimpicciolisce come negli altri due ritratti. Il prompt chiama questa the single most important thing in the picture.

Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 345 parole

La mossa che c’è dentro. Tre negazioni esplicite: NO strong vanishing point, NO dramatic funnel of walls, NO wide splayed view of the road. E una precisazione sullo sfondo: its SIZE is the point, not its blur.

Il prompt

A PHOTOGRAPH TAKEN FROM VERY FAR AWAY WITH A VERY LONG LENS, SO THAT PERSPECTIVE IS ALMOST ABOLISHED. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. AND NO CAMERA, LENS, TRIPOD, STAND OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE, and no part of the photographer either.

A chest-up portrait, cropped just below the collarbones, the top of her head a hand's breadth below the top edge, camera at her eye level.

WHAT THE LONG LENS DOES TO THE BACKGROUND, and this is the single most important thing in the picture: THE TWO ROWS OF BUILDINGS ALONG THE STREET RUN ALMOST PARALLEL TO EACH OTHER instead of converging. There is NO strong vanishing point, NO dramatic funnel of walls narrowing to a distant dot, and NO wide splayed view of the road. The buildings that stand a hundred metres behind her read LARGE, FLAT AND STACKED UP right behind her shoulders, filling the frame from edge to edge, at almost the same apparent size as if they were near. The distance looks folded shut, as if the street had been pressed flat like a stage backdrop hung a metre behind her. The whole background is gently soft, but its SIZE is the point, not its blur.

WHAT THE LONG LENS DOES TO HER FACE: it FLATTENS. The nose sits back into the plane of the face, the cheeks read broader, the ears read the same size as if seen from the front, and the whole head looks pressed and slightly widened.

THE SCENE: a long straight street of pale stone buildings, even overcast mid-morning light. WARDROBE: a matte black tailored blazer over a plain white crew-neck t-shirt, dark charcoal trousers, one thin flat gold chain, nothing shiny and no pattern. LIA, the woman in the supplied reference photograph, her face unchanged: 25 years old, long wavy dark-brown hair, straight strongly marked eyebrows, high cheekbones, full lips. She looks into the lens, calm, with the faintest half-smile.

Lo stesso comando, da riempire

Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.

A PHOTOGRAPH TAKEN FROM VERY FAR AWAY WITH A VERY LONG LENS, SO THAT PERSPECTIVE IS ALMOST ABOLISHED. Take only the FACE from the supplied reference photograph and nothing else from it: not its lighting, not its framing, not its clothes. AND NO CAMERA, LENS, TRIPOD, STAND OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE, and no part of the photographer either.

A chest-up portrait, cropped just below the collarbones, the top of her head a hand's breadth below the top edge, camera at her eye level.

WHAT THE LONG LENS DOES TO THE BACKGROUND, and this is the single most important thing in the picture: THE TWO ROWS OF BUILDINGS ALONG THE STREET RUN ALMOST PARALLEL TO EACH OTHER instead of converging. There is NO strong vanishing point, NO dramatic funnel of walls narrowing to a distant dot, and NO wide splayed view of the road. The buildings that stand a hundred metres behind her read LARGE, FLAT AND STACKED UP right behind her shoulders, filling the frame from edge to edge, at almost the same apparent size as if they were near. The distance looks folded shut, as if the street had been pressed flat like a stage backdrop hung a metre behind her. The whole background is gently soft, but its SIZE is the point, not its blur.

WHAT THE LONG LENS DOES TO HER FACE: it FLATTENS. The nose sits back into the plane of the face, the cheeks read broader, the ears read the same size as if seen from the front, and the whole head looks pressed and slightly widened.

THE SCENE: [LUOGO CON PROFONDITÀ: una strada dritta, un viale alberato, un porticato], even overcast mid-morning light. WARDROBE: [GUARDAROBA: un capo sopra e uno sotto, opachi, senza fantasie e senza logo], one thin flat gold chain, nothing shiny and no pattern. [NOME], the person in the supplied reference photograph, their face unchanged: [ETÀ] years old, [CAPELLI: lunghezza, forma, colore], [DUE O TRE TRATTI DEL VISO]. They look into the lens, calm, with the faintest half-smile.

Per usarlo su altro. Sostituisci soggetto, guardaroba e luogo. La parte che fa il lavoro è la fila di edifici che dovrebbe convergere e non converge: serve un luogo che ne abbia una.

/macro · Macro 1:1

Un occhio che riempie l’inquadratura: ciglia separate una dall’altra, le venature dell’iride, il sopracciglio già sfocato in alto.

Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 215 parole

La mossa che c’è dentro. Il divieto di sfondo è assoluto: ABSOLUTELY NO BACKGROUND — there is no street, no building, no sky and no recognisable shape of any kind. La profondità di fuoco è data in millimetri, con l’esempio di cosa deve risultare già morbido.

Il prompt

A LIFE-SIZE MACRO PHOTOGRAPH OF ONE HUMAN EYE. Take only the eye and the skin around it from the supplied reference photograph. AND NO CAMERA, LENS, RING LIGHT, TRIPOD OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE, and no part of the photographer either. THE OPTICS: a macro lens at 1:1, a hand's breadth from her face. ⚠️ THE FRAME IS FILLED EDGE TO EDGE BY THE EYE AND THE SKIN AROUND IT AND BY NOTHING ELSE: no hair beyond a few strands at the corner, no other features, and ABSOLUTELY NO BACKGROUND — there is no street, no building, no sky and no recognisable shape of any kind anywhere in this picture. What little is not skin is an even soft tone with no detail. WHAT THE MACRO SHOWS: the lashes separated one from another with the light passing between them, the fibres, flecks and radial lines of the brown iris, the fine mesh of pores on the eyelid, the faint dry lines at the outer corner, the wet meniscus along the lower lid. The depth of focus is A COUPLE OF MILLIMETRES: the lashes nearest the lens are sharp and the eyebrow above is already soft and losing its hairs. Even overcast daylight. The iris is brown, as in the supplied photograph.

Lo stesso comando, da riempire

Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.

A LIFE-SIZE MACRO PHOTOGRAPH OF ONE HUMAN EYE. Take only the eye and the skin around it from the supplied reference photograph. AND NO CAMERA, LENS, RING LIGHT, TRIPOD OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE, and no part of the photographer either. THE OPTICS: a macro lens at 1:1, a hand's breadth from her face. ⚠️ THE FRAME IS FILLED EDGE TO EDGE BY THE EYE AND THE SKIN AROUND IT AND BY NOTHING ELSE: no hair beyond a few strands at the corner, no other features, and ABSOLUTELY NO BACKGROUND — there is no street, no building, no sky and no recognisable shape of any kind anywhere in this picture. What little is not skin is an even soft tone with no detail. WHAT THE MACRO SHOWS: the lashes separated one from another with the light passing between them, the fibres, flecks and radial lines of the brown iris, the fine mesh of pores on the eyelid, the faint dry lines at the outer corner, the wet meniscus along the lower lid. The depth of focus is A COUPLE OF MILLIMETRES: the lashes nearest the lens are sharp and the eyebrow above is already soft and losing its hairs. Even overcast daylight. The iris is [COLORE DELL'IRIDE], as in the supplied photograph.

Per usarlo su altro. Sostituisci il colore dell’iride, che nel prompt è dichiarato. Il resto del testo descrive un occhio: per un altro dettaglio^[7] va riscritto, non adattato.

Le immagini di questa pagina sono generate con AI e riviste una per una. I personaggi che vi compaiono sono personaggi di Making of Magazine e non sono persone reali; Luca è reale. Il metodo con cui questi comandi sono scritti è spiegato in Come sono scritti questi prompt.