di Luca Desiderato
Per cambiare lo schema di luce in un ritratto, gli 8 prompt[10] descrivono farfalla, gel colorati, flash diretto, Rembrandt, taglio, metà volto, faretto e finestra. Due comandi chiedono di conservare posa e luogo e cambiare soltanto la luce. Le 16 immagini affiancano foto di partenza e risultati.
Sommario
Come è costruito il comando
Mezzo dichiarato in cinque su otto: A STUDIO PORTRAIT PHOTOGRAPH. /directflash apre con A PRESS PHOTOGRAPH TAKEN AT NIGHT; i due su immagine fornita no.
Ancora: Take only the FACE from the supplied reference[6] photograph. Solo /spotlight conserva posa e composizione[1]: Keep the framing, the pose and the composition.
Divieto di attrezzatura: NO LAMP, SOFTBOX[9], PANEL, STAND, CABLE OR ANY OTHER OBJECT IS VISIBLE.
In /split: the SAME VALUE AS THE BLACK BACKDROP BEHIND HIM.
/butterfly · Luce a farfalla
Un ritratto a mezzo busto su fondale grigio, con maglia scura. La luce è simmetrica: ombra a farfalla sotto il naso, zigomi illuminati allo stesso modo e ombra sotto mento e mascella. Il prompt dichiara: THE SETUP IS BUTTERFLY LIGHTING.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 198 parole
La mossa che c’è dentro. La sorgente sta al centro e sopra l’asse dell’obiettivo: One source sits directly in front of her and high above the lens axis, tilted down. Il testo dichiara anche: the lighting is perfectly symmetrical.
Il prompt
A STUDIO PORTRAIT 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 LAMP, SOFTBOX, DISH, REFLECTOR, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE.
FRAMING AND WARDROBE, FIXED: a chest-up portrait, camera at her eye level, shoulders square to the lens, on a plain seamless mid-grey studio backdrop. She wears a plain dark crew-neck top with no pattern, no beading, no embroidery and no bare shoulders. This is a technical lighting demonstration, not a fashion portrait.
THE SETUP IS BUTTERFLY LIGHTING. One source sits directly in front of her and high above the lens axis, tilted down. Because it is dead centre the lighting is perfectly symmetrical: a small butterfly-shaped shadow sits directly beneath her nose and above her lip, both cheekbones are lit equally, and a deeper shadow pools under her chin and along her jaw. Her forehead is the brightest thing in the frame and her eye sockets stay slightly shaded.
LUDOVICA, the woman in the supplied reference photograph, her face unchanged: matte red lipstick and a low twisted chignon. Calm neutral expression.Lo stesso comando, da riempire
Sostituisci solo quello che sta fra parentesi quadre. Se il soggetto[7] non è una donna cambia anche i pronomi (her → his, she → he); tutto il resto va lasciato com’è, maiuscole comprese.
A STUDIO PORTRAIT 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 LAMP, SOFTBOX, DISH, REFLECTOR, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE.
FRAMING AND WARDROBE, FIXED: a chest-up portrait, camera at her eye level, shoulders square to the lens, on a plain seamless mid-grey studio backdrop. They wear [GUARDAROBA: maglia scura a girocollo, senza motivo, ricamo o spalle scoperte]. This is a technical lighting demonstration, not a fashion portrait.
THE SETUP IS BUTTERFLY LIGHTING. One source sits directly in front of her and high above the lens axis, tilted down. Because it is dead centre the lighting is perfectly symmetrical: a small butterfly-shaped shadow sits directly beneath her nose and above her lip, both cheekbones are lit equally, and a deeper shadow pools under her chin and along her jaw. Her forehead is the brightest thing in the frame and her eye sockets stay slightly shaded.
[NOME], the person in the supplied reference photograph, their face unchanged: [TRATTI DEL VISO E CAPELLI]. Calm neutral expression.Per usarlo su altro. Sostituisci soggetto e guardaroba nei segnaposto[8]. Fondale, inquadratura[2] e schema della luce sono parti fisse. Se cambi il soggetto, riscrivi anche i pronomi che lo riguardano.
/rembrandt · Luce Rembrandt
Un ritratto a mezzo busto di Matteo su fondale grigio. La metà destra del volto sta nell’ombra, tranne un piccolo triangolo di luce sotto la palpebra destra: ONE SMALL BRIGHT TRIANGLE OF LIGHT, chiuso dall’ombra su tre lati.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 326 parole
La mossa che c’è dentro. La sorgente è piccola e dura, a bare reflector the size of a dinner plate, a quarantacinque gradi a sinistra e sopra il soggetto. Matteo gira la testa: HE TURNS HIS HEAD about twenty-five degrees to his RIGHT.
Il prompt
A STUDIO PORTRAIT PHOTOGRAPH DEMONSTRATING REMBRANDT LIGHTING. Take only the FACE from the supplied reference photograph and nothing else from it. AND NO LAMP, SOFTBOX, PANEL, STAND, CABLE OR ANY OTHER OBJECT IS VISIBLE ANYWHERE IN THE PICTURE: every corner of the frame contains only him or the plain backdrop.
THE SOURCE IS SMALL AND HARD, and this is the most important technical fact of the picture: a bare reflector the size of a dinner plate, not a soft box and not a diffused panel. Consequently EVERY SHADOW EDGE IN THIS PHOTOGRAPH IS CRISP AND SHARPLY DEFINED, with no soft gradual falloff anywhere: the shadow of his nose has an edge you could trace with a finger.
POSITION: that small hard source sits forty-five degrees to his LEFT and forty-five degrees ABOVE him, and HE TURNS HIS HEAD about twenty-five degrees to his RIGHT, that is AWAY from the light, while his eyes stay on the lens.
WHAT MUST BE VISIBLE, and the photograph is wrong without it: the sharp-edged shadow of his nose runs down and sideways until it TOUCHES the shadow filling his right cheek, and where the two meet they trap ONE SMALL BRIGHT TRIANGLE OF LIGHT high on his right cheekbone, just below his lower right eyelid and well above his beard line, about the width of his eye, completely enclosed by shadow on all three sides: an island of light in the dark half of his face.
There is no fill light at all: the whole right side of his face beyond that triangle is deep shadow, and the backdrop behind it is dark. He wears a plain dark crew-neck top. Chest-up framing, camera at his eye level, plain seamless mid-grey backdrop.
MATTEO, the man in the supplied reference photograph, his face unchanged: 35 years old, a mass of dark curls, a short full beard with a little grey in it, a square face, a straight strong nose, deep-set blue-grey eyes.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 STUDIO PORTRAIT PHOTOGRAPH DEMONSTRATING REMBRANDT LIGHTING. Take only the FACE from the supplied reference photograph and nothing else from it. AND NO LAMP, SOFTBOX, PANEL, STAND, CABLE OR ANY OTHER OBJECT IS VISIBLE ANYWHERE IN THE PICTURE: every corner of the frame contains only him or the plain backdrop.
THE SOURCE IS SMALL AND HARD, and this is the most important technical fact of the picture: a bare reflector the size of a dinner plate, not a soft box and not a diffused panel. Consequently EVERY SHADOW EDGE IN THIS PHOTOGRAPH IS CRISP AND SHARPLY DEFINED, with no soft gradual falloff anywhere: the shadow of his nose has an edge you could trace with a finger.
POSITION: that small hard source sits forty-five degrees to his LEFT and forty-five degrees ABOVE him, and HE TURNS HIS HEAD about twenty-five degrees to his RIGHT, that is AWAY from the light, while his eyes stay on the lens.
WHAT MUST BE VISIBLE, and the photograph is wrong without it: the sharp-edged shadow of his nose runs down and sideways until it TOUCHES the shadow filling his right cheek, and where the two meet they trap ONE SMALL BRIGHT TRIANGLE OF LIGHT high on his right cheekbone, just below his lower right eyelid and well above his beard line, about the width of his eye, completely enclosed by shadow on all three sides: an island of light in the dark half of his face.
There is no fill light at all: the whole right side of his face beyond that triangle is deep shadow, and the backdrop behind it is dark. They wear [GUARDAROBA: maglia scura a girocollo]. Chest-up framing, camera at his eye level, plain seamless mid-grey backdrop.
[NOME], the person in the supplied reference photograph, their face unchanged: [ETÀ] years old, [CAPELLI], [TRATTI DEL VISO].Per usarlo su altro. Sostituisci soggetto e guardaroba nei segnaposto. Il triangolo dipende da direzione della luce, rotazione della testa e ombra del naso. Per cambiare questa costruzione, riscrivi quei blocchi per intero.
/split · Luce a metà
Un ritratto a mezzo busto su fondale nero. La metà sinistra di Matteo è illuminata e nitida. La metà destra diventa nera come il fondale: PURE BLACK, the SAME VALUE AS THE BLACK BACKDROP BEHIND HIM.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 332 parole
La mossa che c’è dentro. La sorgente piccola e dura è a EXACTLY NINETY DEGREES to his left e non c’è altra luce. La camera è impostata sulla metà illuminata: EXPOSED FOR THE LIT HALF ONLY.
Il prompt
A STUDIO PORTRAIT PHOTOGRAPH DEMONSTRATING SPLIT LIGHTING, EXPOSED FOR THE LIT HALF ONLY. Take only the FACE from the supplied reference photograph and nothing else from it. AND NO LAMP, SOFTBOX, PANEL, STAND, CABLE OR ANY OTHER OBJECT IS VISIBLE ANYWHERE IN THE PICTURE.
THE SOURCE IS SMALL AND HARD: a bare reflector the size of a dinner plate, at EXACTLY NINETY DEGREES to his left, level with his eyes and slightly BEHIND the plane of his face. There is no second light, no reflector, no bounce and no ambient light of any kind in the room. HIS HEAD IS SQUARE TO THE CAMERA.
THE EXPOSURE IS THE POINT OF THIS PICTURE, and it must be exactly this: the camera is set for his brightly lit left half, so his right half receives no light at all and records as PURE BLACK, the SAME VALUE AS THE BLACK BACKDROP BEHIND HIM and indistinguishable from it. The outline of that half of his face is therefore LOST: where his right cheek, right eyebrow, right ear and the right side of his beard should be there is only black, and his silhouette appears cut in half down the middle. Nothing on that half can be made out, not a contour, not a texture, not a reflection. His right eye is not visible at all.
His left half is fully and crisply lit and shows the texture of his beard and the pores of his skin. The dividing line falls exactly on the centre of his forehead, down the ridge of his nose, through the middle of his lips and chin, and it has a crisp edge.
The backdrop is pure black. He wears a plain dark crew-neck top. Chest-up framing, camera at his eye level.
MATTEO, the man in the supplied reference photograph, his face unchanged: 35 years old, a mass of dark curls, a short full beard with a little grey in it, a square face, a straight strong nose, deep-set blue-grey eyes.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 STUDIO PORTRAIT PHOTOGRAPH DEMONSTRATING SPLIT LIGHTING, EXPOSED FOR THE LIT HALF ONLY. Take only the FACE from the supplied reference photograph and nothing else from it. AND NO LAMP, SOFTBOX, PANEL, STAND, CABLE OR ANY OTHER OBJECT IS VISIBLE ANYWHERE IN THE PICTURE.
THE SOURCE IS SMALL AND HARD: a bare reflector the size of a dinner plate, at EXACTLY NINETY DEGREES to his left, level with his eyes and slightly BEHIND the plane of his face. There is no second light, no reflector, no bounce and no ambient light of any kind in the room. HIS HEAD IS SQUARE TO THE CAMERA.
THE EXPOSURE IS THE POINT OF THIS PICTURE, and it must be exactly this: the camera is set for his brightly lit left half, so his right half receives no light at all and records as PURE BLACK, the SAME VALUE AS THE BLACK BACKDROP BEHIND HIM and indistinguishable from it. The outline of that half of his face is therefore LOST: where his right cheek, right eyebrow, right ear and the right side of his beard should be there is only black, and his silhouette appears cut in half down the middle. Nothing on that half can be made out, not a contour, not a texture, not a reflection. His right eye is not visible at all.
His left half is fully and crisply lit and shows the texture of his beard and the pores of his skin. The dividing line falls exactly on the centre of his forehead, down the ridge of his nose, through the middle of his lips and chin, and it has a crisp edge.
The backdrop is pure black. They wear [GUARDAROBA: maglia scura a girocollo]. Chest-up framing, camera at his eye level.
[NOME], the person in the supplied reference photograph, their face unchanged: [ETÀ] years old, [CAPELLI], [TRATTI DEL VISO].Per usarlo su altro. Sostituisci soggetto e guardaroba nei segnaposto. Posa quadrata, posizione della sorgente ed esposizione[3] della metà illuminata sono un unico blocco. Per cambiare la divisione del volto, riscrivilo per intero.
/windowlight · Luce di finestra
Un ritratto stretto di Sofia su fondale semplice, illuminato solo da sinistra. La guancia destra è TWO STOPS DARKER della sinistra; anche il fondale passa da grigio chiaro a quasi nero. Un rettangolo morbido si riflette solo nella lente sinistra.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 328 parole
La mossa che c’è dentro. La fonte è ONE SIDE ONLY BY A VERY LARGE SOFT SOURCE e resta fuori campo. Il divieto è preciso: No window, no window frame[11], no glass, no curtain e nessun rettangolo luminoso nell’immagine.
Il prompt
A STUDIO PORTRAIT PHOTOGRAPH LIT FROM ONE SIDE ONLY BY A VERY LARGE SOFT SOURCE. Take only the FACE from the supplied reference photograph and nothing else from it.
⚠️ THE FRAME CONTAINS ONLY HER AND THE PLAIN BACKDROP. No window, no window frame, no glass, no curtain, no panel, no lamp, no softbox, no reflector, no stand and no bright rectangle of any kind appears anywhere in the picture. Every one of the four corners of this photograph shows plain backdrop and nothing else.
FRAMING, FIXED: a CHEST-UP portrait, close in, HER HEAD FILLING THE UPPER HALF OF THE FRAME, cropped just below the collarbones, camera at her eye level.
THE PICTURE IS ABOUT DIRECTION, AND ANYONE LOOKING AT IT MUST BE ABLE TO SAY WHICH SIDE THE LIGHT IS ON. The light is strictly from her LEFT and it is out of frame. Her left cheek is brightly lit. Her right cheek is TWO STOPS DARKER than her left: clearly, obviously darker, not almost the same. The ridge of her nose casts a soft-edged shadow that lies across her right cheek and reaches toward her right ear. Her right jaw, the right side of her neck and her right shoulder sit in open shadow that still holds detail but reads plainly as shadow. THERE IS NOTHING ON HER RIGHT SIDE LIFTING IT: no reflector, no bounce, no fill. The gradient runs continuously from bright on the left to dark on the right across her whole face, with no hard edge anywhere.
The backdrop falls off the same way and just as plainly: light grey behind her left shoulder, going to near black behind her right shoulder. A soft bright rectangle reflects in the LEFT lens of her glasses only.
She wears a plain light-grey crew-neck top. Calm neutral expression.
SOFIA, the woman in the supplied reference photograph, her face unchanged: a warm luminous register, and prescription glasses with THIN RECTANGULAR DARK frames, never brightly coloured ones.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 STUDIO PORTRAIT PHOTOGRAPH LIT FROM ONE SIDE ONLY BY A VERY LARGE SOFT SOURCE. Take only the FACE from the supplied reference photograph and nothing else from it.
⚠️ THE FRAME CONTAINS ONLY HER AND THE PLAIN BACKDROP. No window, no window frame, no glass, no curtain, no panel, no lamp, no softbox, no reflector, no stand and no bright rectangle of any kind appears anywhere in the picture. Every one of the four corners of this photograph shows plain backdrop and nothing else.
FRAMING, FIXED: a CHEST-UP portrait, close in, HER HEAD FILLING THE UPPER HALF OF THE FRAME, cropped just below the collarbones, camera at her eye level.
THE PICTURE IS ABOUT DIRECTION, AND ANYONE LOOKING AT IT MUST BE ABLE TO SAY WHICH SIDE THE LIGHT IS ON. The light is strictly from her LEFT and it is out of frame. Her left cheek is brightly lit. Her right cheek is TWO STOPS DARKER than her left: clearly, obviously darker, not almost the same. The ridge of her nose casts a soft-edged shadow that lies across her right cheek and reaches toward her right ear. Her right jaw, the right side of her neck and her right shoulder sit in open shadow that still holds detail but reads plainly as shadow. THERE IS NOTHING ON HER RIGHT SIDE LIFTING IT: no reflector, no bounce, no fill. The gradient runs continuously from bright on the left to dark on the right across her whole face, with no hard edge anywhere.
The backdrop falls off the same way and just as plainly: light grey behind her left shoulder, going to near black behind her right shoulder. A soft bright rectangle reflects in the [LENTE] lens of their glasses only.
They wear [GUARDAROBA: maglia a girocollo grigio chiaro]. Calm neutral expression.
[NOME], the person in the supplied reference photograph, their face unchanged: [TRATTI DEL VISO], and prescription glasses with [OCCHIALI].Per usarlo su altro. Sostituisci soggetto, guardaroba e lente nei segnaposto. Direzione, differenza di due stop[12] e riflesso nella lente sinistra sono parti specifiche. Per cambiarle, riscrivi le frasi relative.
/colorgel · Gelatina colorata
Un ritratto a mezzo busto con maglia scura su fondale semplice. Il lato sinistro di Alba è magenta e il destro ciano; al centro formano una fascia neutra. Il fondale raccoglie i due colori in two overlapping pools.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 236 parole
La mossa che c’è dentro. Le due sorgenti stanno ai lati: a deep magenta from her left and a cold cyan from her right. Sono colorate alla fonte: each one is coloured at the source, not tinted afterwards.
Il prompt
A STUDIO PORTRAIT 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 LAMP, GEL, FRAME, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE.
FRAMING AND WARDROBE, FIXED: a chest-up portrait, camera at her eye level, on a plain seamless backdrop. She wears a plain dark crew-neck top with no pattern and NO BARE SHOULDERS AND NO BARE NECKLINE. This is a technical lighting demonstration, not a fashion portrait.
THE SETUP IS COLOURED GELS ON THE LIGHTS THEMSELVES. Two sources light her from either side and each one is coloured at the source, not tinted afterwards: a deep magenta from her left and a cold cyan from her right. One side of her face and neck is magenta, the other cyan, and where the two meet down the centre of her face the colours mix into a narrow neutral band. Her shadows carry the complementary colour instead of going grey, and the backdrop behind her picks up both hues in two overlapping pools. The whites of her eyes and her teeth are the only neutral things in the frame.
ALBA, the woman in the supplied reference photograph, her face unchanged: a Mediterranean register, the straight ridge of her nose distinctive in profile, and earrings. Shoulders turned a few degrees off square, calm neutral expression.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 STUDIO PORTRAIT 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 LAMP, GEL, FRAME, STAND, CABLE OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE.
FRAMING AND WARDROBE, FIXED: a chest-up portrait, camera at her eye level, on a plain seamless backdrop. They wear [GUARDAROBA: maglia scura a girocollo senza motivo, spalle o scollatura scoperte]. This is a technical lighting demonstration, not a fashion portrait.
THE SETUP IS COLOURED GELS ON THE LIGHTS THEMSELVES. Two sources light her from either side and each one is coloured at the source, not tinted afterwards: a deep magenta from her left and a cold cyan from her right. One side of her face and neck is magenta, the other cyan, and where the two meet down the centre of her face the colours mix into a narrow neutral band. Her shadows carry the complementary colour instead of going grey, and the backdrop behind her picks up both hues in two overlapping pools. The whites of her eyes and her teeth are the only neutral things in the frame.
[NOME], the person in the supplied reference photograph, their face unchanged: [TRATTI DEL VISO]. Shoulders turned a few degrees off square, calm neutral expression.Per usarlo su altro. Sostituisci soggetto e guardaroba nei segnaposto. Per usare altri colori, riscrivi tutte le frasi che nominano magenta, ciano e il loro incontro al centro.
/directflash · Flash diretto
Un ritratto notturno di Lia, a mezzo busto, con maglia scura. Dietro testa e spalle compare un’ombra dura sul muro; fronte, punta del naso e zigomi hanno riflessi luminosi. Oltre due metri lo sfondo diventa nero: falling to complete black.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 235 parole
La mossa che c’è dentro. Il mezzo dichiarato è A PRESS PHOTOGRAPH TAKEN AT NIGHT WITH AN ON-CAMERA FLASH. Le tre cose richieste sono numerate nel prompt. La sorgente è sull’asse dell’obiettivo e l’ombra ha a crisp outline.
Il prompt
A PRESS PHOTOGRAPH TAKEN AT NIGHT WITH AN ON-CAMERA FLASH. Take only the FACE from the supplied reference photograph and nothing else from it: the soft even light of that photograph is replaced entirely by one small hard flash mounted on the camera. AND NO LAMP, TORCH, LIGHT, STAND, HAND OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE.
THE THREE THINGS THAT MUST BE VISIBLE, because they are what an on-camera flash does: (1) a HARD-EDGED DARK SHADOW of her head and shoulders cast onto the wall one step behind her, with a crisp outline, because the source is small and sits on the lens axis; (2) BRIGHT SPECULAR HIGHLIGHTS with very little detail left in them on her forehead, on the tip of her nose and on the tops of her cheekbones; (3) the background more than two metres away falling to complete black, with no other light anywhere in the frame.
The face is lit flatly and frontally with almost no modelling, the contrast is harsh, and the colour of the flash is cold and slightly green next to her warm skin. She wears a plain dark crew-neck top. Chest-up framing, camera at her eye level, shoulders square, looking calmly into the lens.
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.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 PRESS PHOTOGRAPH TAKEN AT NIGHT WITH AN ON-CAMERA FLASH. Take only the FACE from the supplied reference photograph and nothing else from it: the soft even light of that photograph is replaced entirely by one small hard flash mounted on the camera. AND NO LAMP, TORCH, LIGHT, STAND, HAND OR ANY OTHER PIECE OF EQUIPMENT IS VISIBLE ANYWHERE IN THE PICTURE.
THE THREE THINGS THAT MUST BE VISIBLE, because they are what an on-camera flash does: (1) a HARD-EDGED DARK SHADOW of her head and shoulders cast onto the wall one step behind her, with a crisp outline, because the source is small and sits on the lens axis; (2) BRIGHT SPECULAR HIGHLIGHTS with very little detail left in them on her forehead, on the tip of her nose and on the tops of her cheekbones; (3) the background more than two metres away falling to complete black, with no other light anywhere in the frame.
The face is lit flatly and frontally with almost no modelling, the contrast is harsh, and the colour of the flash is cold and slightly green next to her warm skin. They wear [GUARDAROBA: maglia scura a girocollo]. Chest-up framing, camera at her eye level, shoulders square, looking calmly into the lens.
[NOME], the person in the supplied reference photograph, their face unchanged: [ETÀ] years old, [CAPELLI], [TRATTI DEL VISO].Per usarlo su altro. Sostituisci soggetto e guardaroba nei segnaposto. Muro a un passo, sfondo oltre due metri e flash montato sulla camera sono legati. Per cambiare il luogo, riscrivi le frasi sul muro e sullo sfondo.
/rimlight · Luce di taglio
L’immagine fornita conserva inquadratura, posa e luogo. Cambia solo la luce: una linea dura segue capelli e parte alta delle spalle. Il viso passa in ombra uniforme e il muro di pietra a destra diventa scuro.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 67 parole
La mossa che c’è dentro. L’apertura è Keep the framing, the pose and the place exactly as in the supplied image. La luce arriva da dietro, by the sunlit gap in the alley, senza luce frontale.
Il prompt
Keep the framing, the pose and the place exactly as in the supplied image: only the light changes. She is lit from behind by the sunlit gap in the alley: a hard bright line traces the edge of her hair and the top of her shoulders, her face turns to even shadow with no frontal light at all, and the stone wall on her right goes dark.Per usarlo su altro. Non ci sono segnaposto: il comando conserva l’immagine fornita come blocco unico. Per un’altra immagine, invia la nuova immagine e riscrivi le frasi sul varco illuminato e sul muro di pietra, che descrivono quel luogo.
/spotlight · Occhio di bue
L’immagine fornita conserva inquadratura, posa e composizione. Un unico faretto duro illumina solo viso e spalle; il resto della stanza cade nel buio con un bordo netto. Il prompt dice: only the light changes.
Ti serve una foto di partenza: Sì, una · Modello: Nano Banana Pro · Lunghezza: 49 parole
La mossa che c’è dentro. Numero della sorgente e area illuminata sono espliciti: A single hard spot lights only her face and shoulders. Il bordo del passaggio al buio è chiesto come a clear edge.
Il prompt
Keep the framing, the pose and the composition exactly as in the supplied image: only the light changes. A single hard spot lights only her face and shoulders: a bright pool on her with a clear edge, and the wall, the window and the monitor all fall into darkness.Per usarlo su altro. Non ci sono segnaposto: il comando prende posa, composizione e soggetto dall’immagine fornita. Per un’altra immagine, invia la nuova immagine e conserva il testo; non l’abbiamo provato su altri soggetti.
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.
Articoli correlati
L'arte e la tecnica di disporre gli elementi visivi (soggetti, oggetti, luci, ombre) all'interno del frame (l'inquadratura). Serve a guidare lo sguardo dello spettatore verso i punti di interesse, a creare equilibrio (o squilibrio) e a sottolineare le relazioni narrative.
L'unità minima del linguaggio cinematografico. Tecnicamente, è la porzione di spazio (fisico o virtuale) delimitata dai bordi dell'obiettivo della macchina da presa. Nel montaggio, corrisponde a una registrazione continua tra due stacchi (tagli).
(exposure) Il parametro tecnico che definisce la quantità totale di luce che colpisce il sensore della macchina da presa. È determinata dal bilanciamento di tre fattori (il "triangolo dell'esposizione"): apertura del diaframma, tempo di posa (shutter speed) e sensibilità ISO. Un'esposizione corretta è tecnicamente impeccabile; una sotto-esposta è troppo scura, una sovra-esposta è troppo chiara.
(close-up) Un'inquadratura che isola un soggetto, tipicamente il volto di un personaggio (dalle spalle in su). È usata per enfatizzare i dettagli, le reazioni e le emozioni. È una delle inquadrature più potenti a livello narrativo per creare intimità e connessione emotiva con lo spettatore.
(telaio di diffusione) Un grande telaio modulare (spesso 6x6, 8x8 o 12x12 piedi) su cui vengono legati grandi teli di tessuto per modificare la luce. Usato con un telo di diffusione (es. seta o grid cloth), ammorbidisce una fonte potente (come il sole o un HMI). Usato con un telo nero (negativo), blocca la luce (crea ombra).
