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新山聡美(昭和初期の町中)

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PixAI Tsubaki.3 Creation Contest Now Open#Tsubaki.3

#MILF #Smile #Shoulder bag #Power lines #Mountain #House #Sound! Euphonium #Carriage #Satomi Niiyama #Utility pole #Updo

Published on Oct 2, 2026

北

北宇治高校仙台分校

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copyright: hibike!_euphonium character: Niiyama Satomi (Hibike! Euphonium)., brown hair, no bangs hanging over the center of the forehead, bluish violet eyes, lavender eyes, cool-toned purple eyes, very very long almond-shaped large eyes, thick eyelashes, high hairline, longer distance between hairline and eyebrows, center part starting high on the crown, middle-aged women, 33-years-old, medium breasts. The scene is depicted as an old hand-colored photograph of a historical Japanese streetscape from the Meiji to early Taisho period. The overall screen is based on pale sepia, yellowish-brown, and grayish-pale natural colors, with soft color development, low saturation, slightly faded colors, fine film grain, soft contrast, and the texture of an old, slightly yellowed photograph, as if an old photo was hand-colored later. Avoid the colors of modern vivid digital photography; ensure all objects and people on the screen share the same old photograph tone and texture. No modern buildings, cars, utility poles, modern road signs, or modern clothing and accessories. The shot is taken from a wide angle, looking down diagonally from a slightly elevated position slightly away from a road passing through a historical Japanese town in a mountainous or suburban area. From the center to the right of the screen, a heavy black two-horse carriage is crossing the road. The carriage is a classic box-shaped passenger carriage as used in Japan from the late 19th to early 20th century, with a black-painted wooden body, black roof, large windows on the sides, thin metal wheels, and a leather-upholstered cabin. The carriage is moving toward the right of the screen, drawn by two black or dark bay horses. The horses are correctly fitted with leather tack and harnesses of the period, naturally connected to the carriage. **A driver must be placed at the very front of the carriage. The driver is a different person from the woman and is sitting in the driver's seat provided at the front of the carriage. The driver is an adult male operating the carriage, wearing plain and practical clothing typical of a Meiji to early Taisho period Japanese driver: a dark-colored long-sleeved jacket, trousers, and an old-fashioned hat. The driver sits with a naturally straight back in the driver's seat, facing the direction of the horses' movement, firmly gripping the reins with both hands. The reins are clearly connected from the driver's hands to the two horses. The driver is clearly depicted as the driver operating the carriage, not a passenger. Do not put the driver inside the passenger cabin or have him sit in the same seat as the woman. Ensure the driver's seat and the driver's upper body are sufficiently visible so that the presence of the driver is recognizable at a glance. The woman is seated inside the cabin of the black carriage. While the character's facial features, hairstyle, and body shape maintain the LoRA's characteristics, the colors and textures do not use the modern, vivid colors inherent to the LoRA, but align completely with the old hand-colored photograph tone of the entire image. The woman's skin, hair, clothes, and bag are all depicted in low-saturation, pale, faded colors, with the same sepia-toned old photo tone, soft contrast, slight yellowish-brown color cast, and faded texture unique to old photos as the surrounding buildings, carriage, road, and trees. Ensure the woman is not depicted in modern vivid or high-saturation colors. The woman is a married woman in her early 30s, dressed to look natural as an upper-class or upper-middle-class woman of the Meiji to early Taisho period, maintaining a neat and elegant atmosphere. Her clothing consists of a high-collar blouse in pale cream or a color that looks close to white in an old photograph, a long skirt in low-saturation dark blue or near-black, and a neatly tailored long-sleeved jacket or coat. The colors of the clothes are not modern vivid white or blue, but shades that look slightly yellowed and faded in an old photo. Decorations are modest, consisting only of a small brooch, light-colored gloves, and a small, elegant handbag typical of women at the time. No modern accessories, wristwatches, smartphones, or modern bags. The woman's long hair is tied in a modest low bun at the back of the head, befitting an elegant woman of the time, with some hair naturally flowing over her shoulders and back. The hair color is not the vivid modern color inherent to the LoRA, but a low-saturation, slightly faded natural hair color seen in old hand-colored photographs. Avoid oversized hair ornaments; use only small, modest hair accessories. The woman is sitting in a seat inside the carriage cabin, with her body slightly facing the direction of the carriage's movement, quietly gazing at the streetscape outside through the side window. One hand is placed naturally on her lap, and the other hand lightly holds a small handbag. Her posture is elegant and calm, sitting with a naturally straight back. Her expression is a gentle and quiet smile, not looking directly at the camera, but gazing at the historical streetscape outside the window. The woman must not be standing outside the carriage; she must be sitting inside the cabin of the black carriage. The composition ensures that the woman's upper body to her waist is naturally visible through the carriage window, and that the window frame and carriage structure make it clear that the woman is a passenger. Do not depict only the woman in a large size; ensure the entire carriage and the surrounding historical landscape are sufficiently visible. In the foreground of the road, there is a stone-lined waterway or a shallow moat, with a small wooden bridge spanning it. There are old wooden fences around the bridge, and a single Japanese streetlamp of the period stands along the road. The road is unpaved, a natural path mixed with soil and fine gravel. From the foreground toward the center, a white wall with an old stone foundation and tiled roof continues. In the background, place a historical Japanese house with large grounds. It is a grand wooden building with multiple layers of large tiled roofs, deep eaves, wooden pillars, lattice doors, white walls, and old tiled roofs. Around the main house, there are several small detached rooms, sheds, and wooden annexes naturally connected. Depict the building not as a temple, but as a prestigious large Japanese house or a historical residence. In the far right of the screen, place a characteristic gate surrounded by white gateposts and a white fence. An old Japanese sign is attached to the gate, but the characters do not need to be clearly legible; prioritize the atmosphere of an entrance to a historical facility. Small buildings and a garden are visible beyond the gate. A few people in period clothing may be placed near the gate, but they should not stand out more than the woman in the carriage or the driver. Large old trees such as pines and cedars are placed throughout the background, with trees stretching high into the sky from behind the buildings. Distant trees and buildings appear slightly hazy, evoking the quiet air of a historical town. The sky is bright daylight with thin clouds, and soft natural light, not too strong, illuminates the buildings, carriage, horses, road, and stone walls. Natural light hits the carriage, horses, driver, and woman from the same direction, casting unified soft shadows. Avoid modern studio lighting where only the people stand out brightly. The camera is placed at a position slightly away from the road, capturing the carriage and historical buildings widely and simultaneously. The composition places the large Japanese house and white walls from the left side to the center, with the black carriage crossing from the center to the right. The carriage is an important main subject, but it is not enlarged to fill the screen; the two horses, the driver, the entire carriage, the road, the stone walls, the bridge, the white gate, and the massive Japanese house are all contained within a single frame. While making the woman clearly visible as a passenger inside the carriage cabin, maintain the sense of scale of the entire streetscape. As a photograph, it should not be a modern high-definition digital photo, but have the texture of an old photograph documenting Meiji to Taisho period Japan that was faintly hand-colored in later generations. It should feature fine photographic grain, soft outlines like a printed photograph, slightly faded colors, slight light leaks, and a feeling of natural aging. **Unify all elements in the screen—including the woman, driver, horses, carriage, buildings, road, and trees—with the same old hand-colored photograph tone and texture, avoiding the situation where only the character has vivid modern colors. Apply the same low-saturation sepia-toned light and color cast to the woman's skin, hair, and clothing as the surroundings.** Do not use overly vivid modern colors, modern cinematic expressions, anime style, or illustration style.

新山聡美(昭和初期の町中)

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