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- Original Prompt
- Photoreal portrait of a young man standing centered in front of a monumental modernist façade — pale concrete, strict symmetry, repeating arches and windows. The man's expression is neutral and vacant. Over his face, thick white ink scribbles, hand-drawn, aggressive, partially obscuring features (like a violent erasure). Add torn book pages and faint "COPY" rubber-stamp marks layered across the building. Desaturated palette, high contrast, subtle film grain, tactile paper texture, cinematic 50mm, shallow depth of field, 1:1 aspect ratio. --no neon --no glowing --no cyber --no futuristic --style photorealistic.,(HDR),(8k),(32k),(masterpiece:1.1),(Best quality),(Ultra detailed eyes),dark theme,dim lighting,black theme,dark background,dark room,black background,silhouette,backlighting,vignetting contrast,
- Size
- 768 x 1280
- Sampling Steps
- 28
- Sampling Method
- Euler a
- CFG Scale
- 5
- Negative
- nsfw, worst quality, bad quality, low quality, lowres, anatomical nonsense, artistic error, bad anatomy, interlocked fingers, extra fingers, text, artist name, signature, bad feet, extra toes, ugly, poorly drawn, censor, blurry, watermark, simple background, transparent background, old, oldest, glitch, deformed, mutated, disfigured, long body, bad hands, missing fingers, extra digit, fewer digits, cropped, very displeasing, sketch, jpeg artifacts, username, censored, bar_censor, mosaic_censor, conjoined, bad ai-generated, long neck, skin blemishes, skin spots, acne, the wrong limb, error, black line, excess hands, (nsfw:1.2), (nude:1.6), (nipple:1.2), naked
Model & LoRA used
Similar Images
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wide shot, cinematic wide shot, symmetrical composition, vanishing point symmetry, 16:9 letterbox, one floating empty dark cloak, no body inside the cloak, hollow cloak, hovering cloak, dark empty cloak at center of the room, hood collapsed inward, sleeves hanging empty, hem drifting, hundreds of tall antique mirrors, endless ballroom, dark abandoned ballroom, frosted mirrors, frost-covered mirror glass, fern frost, rime, wet black marble floor, standing water, reflections on wet floor, deep indigo and silver palette, indigo darkness, silver highlights, film grain, no text, no lettering, no watermark, no signature, no speech bubbles, no signage, empty frames, existential horror, loneliness, uncanny, smiling figure reflected in every mirror, identical figure repeated in every mirror, immaculate formal suit, poised, hands folded, cold light, single light source, symmetrical hall, tall arched windows, chandeliers dark and unlit, dust motes, no people in the room
A cinematic wide shot on a perfectly symmetrical one-point perspective axis: an endless abandoned ballroom recedes down a central aisle, and every element of the hall is mirrored left-to-right about that axis. Two rows of hundreds of tall antique mirrors, silvered frames tarnished and beaded with frost, flank the aisle and repeat into the dark until the far end dissolves into indigo haze. Every single mirror holds the same reflection: a perfectly dressed figure in an immaculate dark formal suit, hands folded at the waist, head level, a serene closed-lipped smile, identical in pose and position from frame to frame, yet seen only inside the glass. In the center of the ballroom, exactly on the aisle axis and directly beneath the chandelier-less ceiling, floats a dark empty cloak: a heavy indigo-black garment with no body inside it, the hood collapsed inward and empty, both sleeves hanging down with nothing filling them, the hem lifting and turning a few centimetres above the wet black marble, its only support the still air. No reflection of the cloak appears in any mirror; the reflections hold the smiling figure and nothing else. The floor is polished wet black marble in large square slabs, standing water pooled along the grout seams, and each mirror stands in its pool as an inverted image that is darker and softer than its source, stretched by the water and broken where frost-melt has dripped from the frames. Single light source: a cold silver shaft from high arched windows on the far wall, low and raking, striking only the upward-facing surfaces — the tops of the frames, the crowns of the frames' frost crystals, the pool surfaces — while the aisle floor between the pools and the depth of the hall fall into absolute indigo darkness. The frost is heaviest on the upper glass and thins toward the bottom of each mirror, and in the coldest mirrors the frost has grown over the reflection's face in white fern patterns while the smile still shows through beneath. Palette admits only deep indigo, black, and cold silver, with the one warm note withheld entirely; the reflections' faces are the brightest silver in the frame, and the cloak at center is the darkest shape in a room of dark shapes, the negative space where a person should be. Heavy film grain across the whole image, coarse in the shadows, fine in the highlights. No written characters anywhere in the scene, no signage, no watermarks, no signatures — only frost, glass, water and stone. Quiet dread, unbearable loneliness.
C9I
2 men, two mafia members, black suits, black tailored suit jackets, crisp white dress shirts, slim black ties, standing at attention, flanking the base of the stairs, symmetric composition, left and right, large grand staircase, staircase centered, marble staircase, marble steps, wrought-iron balustrade, large chandelier, hanging chandelier, crystal chandelier, mafia entrance hall, grand foyer, mansion interior, marble floor, checkered black-and-white marble floor, columns, tall double doors, from below, wide shot, dutch angle, cowboy shot, standing, hands clasped in front of themselves, neutral expression, looking at viewer, symmetrical, dramatic lighting, high contrast, chiaroscuro, dark ambient, moody, cinematic, detailed architecture, no extra people, empty hall otherwise
The camera sits low at the foot of the hall and tilts slightly off-axis, looking up: a grand marble staircase rises dead centre of the frame, its broad first flight filling the middle of the picture with a checkerboard of black and white marble underfoot that runs unbroken from the lens to the bottom step. Two men in sharp black tailored suits, crisp white dress shirts and slim black ties stand at the base of the stairs, one to the left of the lowest step and one to the right, each planted symmetrically at attention with their weight even on both feet, feet shoulder-width apart on the marble, hands clasped loosely in front of their waistbands, elbows slightly bent — the left man's right thumb resting over his left knuckles, the right man's fingers interlaced the other way. Their jackets hang closed and unbuttoned at the bottom, shirt cuffs showing a centimetre past the sleeve, tie knots tight at the bare throat; there are no badges, no earrings, no hair ornaments, faces clean and unhurried. Both faces are level and composed, mouths closed, and both look straight into the lens with flat, evaluating eyes, chins very slightly lifted by the upward camera angle. Above them, the staircase's wrought-iron balustrade climbs to a landing and continues to a second floor balcony that crosses the top of the frame; from the ceiling at the center hangs a large crystal chandelier, its tiers of prisms and candle-bulbs strung on a gilded frame, and it is the only light source — the chandelier throws hard sparkles down the marble, lays slender bright threads along the polished balustrade and across the two men's shoulders and hair, doubles itself in the checkerboard floor where the tiles reflect it longer and softer than the source above, and beyond the reach of its pool the hall's columns, doorframes and far corners sink into near-total darkness. Palette is black, white and cold gold — black in the suits and the dark marble tiles, white in the shirts, the pale tiles and the chandelier's prisms, gold only where the chandelier's frame and light touch stone — with nothing else admitted. Detail budget goes to the two men's silhouettes against the lit marble, the contact of their shoes on the floor, the chandelier's tiered glitter, and the staircase's receding perspective; the upper gallery and the deep hall are simplified into shadow. Opulent, quietly threatening.
さかな
The Enigmatic Scholar in the Candlelit Library
Qullah.
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さぶにの
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