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Alvin
Show Parameters
- Original Prompt
- 1female, saeki shiori, 26 years old, Japanese teacher, sleek black short hair, neat pixie cut, dark brown eyes, elegant and refined expression, serious and solemn demeanor, strict cold facial expression, slim and graceful figure, 36C bust, moderate breasts, wearing fitted dark gray business suit skirt, slim-fit pencil skirt, black pantyhose, sheer black pantyhose, formal office attire, professional look, high heels, realistic, masterpiece, highly detailed, photorealistic, 8k resolution.็่้ก้ ญ
- Mode
- pro
- Size
- 768 x 1280
- Negative
- glasses, eyewear, long hair, large breasts, huge breasts, 36F, cleavage, revealing clothes, casual outfit, smile, playful expression, cute, colorful hair, low quality, bad anatomy, deformed.
Model & LoRA used
Similar Images
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a
A medium shot from a front-facing, eye-level angle features Saeki Shiori, a 26-year-old Japanese teacher, standing in a professional setting and looking directly at the camera. She has a slim, graceful figure with a moderate bust, characterized by sleek, short black hair in a neat pixie cut and dark brown eyes. Her expression is strict and cold, conveying a serious and solemn demeanor with an elegant yet refined gaze. She is dressed in formal office attire consisting of a fitted dark gray business suit jacket and a matching slim-fit pencil skirt that contours her frame, paired with sheer black pantyhose and classic high heels. The environment is a brightly lit, modern office or classroom with soft ambient lighting and a clean, professional atmosphere. The visual style is a high-quality anime illustration with a photorealistic finish, featuring crisp lines, subtle fabric textures on the suit, and a polished, detailed color palette.
Alvin
1girl, solo, full body shot, standing, young Japanese businesswoman, black hair, neat inner-turned bob cut, blunt bangs, hair tucked behind one ear, dark brown eyes, gentle closed-lip smile, looking at camera, head tilted slightly, black well-tailored business suit jacket, single-breasted jacket fastened at one button, white collared dress shirt, top two buttons unbuttoned, open collar, bare throat, no necktie, black tight pencil skirt, hem at the knee, sheer black tights, black pump heels, pigeon-toed posture, toes turned inward, knees close together, hands loosely clasped in front of the skirt, weight on one leg, hip slightly out, shoulders relaxed, modern office, blurred corporate background, soft corporate office lighting, photorealistic, 8k resolution, highly detailed.
The camera is a full-body vertical frame taken from just below her eye level, so the figure fills the height of the image from the crown of her bob to the tips of her black pumps, with a narrow margin of floor and dropped ceiling above and below her. She stands a little off the center line, body angled about twenty degrees to her left, and she turns her face back toward the lens. Her head tips slightly to her left, one brow faintly lifted, the corners of her lips curved into a soft closed-mouth smile; her eyes meet the camera directly and hold it, warm and composed rather than bright. Her feet are turned inward toward each other in a pigeon-toed stance, the toes of her pumps nearly meeting while her heels splay outward; her weight sits on her right leg, that hip pressed up and out, the left knee bent and drifting inward, both knees held close together. Her hands are loosely clasped in front of the top of her pencil skirt, fingers interlaced, the fingertips of her right hand resting on the back of her left. The inner-turned bob is neat and even, its ends curling under along her jaw on both sides, one side tucked behind her ear; a few strands stir faintly where the office air moves across her shoulder.
Her well-tailored black suit jacket is buttoned at a single point at her waist, its lapels falling open in a narrow V, the front edges pulling gently apart above the button so the white shirt shows through in a clean stripe down the center. The shirt's top two buttons are unfastened; the collar stands open and soft, the two points sitting away from the base of her throat so the bare skin of her neck reads clearly, and nothing sits at the throat. The jacket's shoulders sit square and precise, its sleeves ending at her wrists. Below, the black pencil skirt is tight and unbroken, hugging her hips and thighs and tapering to a straight hem at the knee, splitting only where she bends her left knee. The sheer black tights darken her legs evenly from the hem down, their fine weave catching the overhead light in a faint sheen along the front of each shin and over the tops of her feet; inside the pumps the tights smooth away the line of the shoe's edge. A soft upward shadow gathers inside the open collar and beneath the skirt hem.
The office lighting is diffuse and cool-neutral, coming from broad recessed ceiling panels and a wash of daylight from windows off to her right, so her face is lit evenly from slightly above and her right side is a touch brighter than her left; the light lays a low soft sheen along the top of her bob and down the front of the tights. The background is a defocused corporate interior โ the pale cool gray of partitions sliding into darker glass at the frame's upper right, the suggestion of a desktop and a chair reduced to soft shapes, a muted cool blue-gray behind her right shoulder โ blurred enough that none of it competes with her silhouette, and the shallow depth of field keeps a faint halo of light around the edge of her hair where the ceiling panels sit behind her. The palette holds to black, white, cool gray and the warm natural tone of her skin and face, nothing else admitted.
Photorealistic skin with visible fine texture, individual hairs along the bob's edge, the matte weave of the suit cloth and the faint ribbing of the tights, all rendered at photographic sharpness up to the point where the background defocus begins; the slight sheen of clean floor tile catching her inverted reflection, softer and darker than she is, at the bottom edge of the frame. Quiet, poised, effortlessly polished.
ใใ
1girl, solo, full body shot, standing, young Japanese businesswoman, black hair, neat inner-turned bob cut, blunt bangs, hair tucked behind one ear, dark brown eyes, gentle closed-lip smile, looking at camera, head tilted slightly, black well-tailored business suit jacket, single-breasted jacket fastened at one button, white collared dress shirt, top two buttons unbuttoned, open collar, bare throat, no necktie, black tight pencil skirt, hem at the knee, sheer black tights, black pump heels, pigeon-toed posture, toes turned inward, knees close together, hands loosely clasped in front of the skirt, weight on one leg, hip slightly out, shoulders relaxed, modern office, blurred corporate background, soft corporate office lighting, photorealistic, 8k resolution, highly detailed.
The camera is a full-body vertical frame taken from just below her eye level, so the figure fills the height of the image from the crown of her bob to the tips of her black pumps, with a narrow margin of floor and dropped ceiling above and below her. She stands a little off the center line, body angled about twenty degrees to her left, and she turns her face back toward the lens. Her head tips slightly to her left, one brow faintly lifted, the corners of her lips curved into a soft closed-mouth smile; her eyes meet the camera directly and hold it, warm and composed rather than bright. Her feet are turned inward toward each other in a pigeon-toed stance, the toes of her pumps nearly meeting while her heels splay outward; her weight sits on her right leg, that hip pressed up and out, the left knee bent and drifting inward, both knees held close together. Her hands are loosely clasped in front of the top of her pencil skirt, fingers interlaced, the fingertips of her right hand resting on the back of her left. The inner-turned bob is neat and even, its ends curling under along her jaw on both sides, one side tucked behind her ear; a few strands stir faintly where the office air moves across her shoulder.
Her well-tailored black suit jacket is buttoned at a single point at her waist, its lapels falling open in a narrow V, the front edges pulling gently apart above the button so the white shirt shows through in a clean stripe down the center. The shirt's top two buttons are unfastened; the collar stands open and soft, the two points sitting away from the base of her throat so the bare skin of her neck reads clearly, and nothing sits at the throat. The jacket's shoulders sit square and precise, its sleeves ending at her wrists. Below, the black pencil skirt is tight and unbroken, hugging her hips and thighs and tapering to a straight hem at the knee, splitting only where she bends her left knee. The sheer black tights darken her legs evenly from the hem down, their fine weave catching the overhead light in a faint sheen along the front of each shin and over the tops of her feet; inside the pumps the tights smooth away the line of the shoe's edge. A soft upward shadow gathers inside the open collar and beneath the skirt hem.
The office lighting is diffuse and cool-neutral, coming from broad recessed ceiling panels and a wash of daylight from windows off to her right, so her face is lit evenly from slightly above and her right side is a touch brighter than her left; the light lays a low soft sheen along the top of her bob and down the front of the tights. The background is a defocused corporate interior โ the pale cool gray of partitions sliding into darker glass at the frame's upper right, the suggestion of a desktop and a chair reduced to soft shapes, a muted cool blue-gray behind her right shoulder โ blurred enough that none of it competes with her silhouette, and the shallow depth of field keeps a faint halo of light around the edge of her hair where the ceiling panels sit behind her. The palette holds to black, white, cool gray and the warm natural tone of her skin and face, nothing else admitted.
Photorealistic skin with visible fine texture, individual hairs along the bob's edge, the matte weave of the suit cloth and the faint ribbing of the tights, all rendered at photographic sharpness up to the point where the background defocus begins; the slight sheen of clean floor tile catching her inverted reflection, softer and darker than she is, at the bottom edge of the frame. Quiet, poised, effortlessly polished.
ใใ
1girl, solo, full body shot, standing, young Japanese businesswoman, black hair, neat inner-turned bob cut, blunt bangs, hair tucked behind one ear, dark brown eyes, gentle closed-lip smile, looking at camera, head tilted slightly, black well-tailored business suit jacket, single-breasted jacket fastened at one button, white collared dress shirt, top two buttons unbuttoned, open collar, bare throat, no necktie, black tight pencil skirt, hem at the knee, sheer black tights, black pump heels, pigeon-toed posture, toes turned inward, knees close together, hands loosely clasped in front of the skirt, weight on one leg, hip slightly out, shoulders relaxed, modern office, blurred corporate background, soft corporate office lighting, photorealistic, 8k resolution, highly detailed.
The camera is a full-body vertical frame taken from just below her eye level, so the figure fills the height of the image from the crown of her bob to the tips of her black pumps, with a narrow margin of floor and dropped ceiling above and below her. She stands a little off the center line, body angled about twenty degrees to her left, and she turns her face back toward the lens. Her head tips slightly to her left, one brow faintly lifted, the corners of her lips curved into a soft closed-mouth smile; her eyes meet the camera directly and hold it, warm and composed rather than bright. Her feet are turned inward toward each other in a pigeon-toed stance, the toes of her pumps nearly meeting while her heels splay outward; her weight sits on her right leg, that hip pressed up and out, the left knee bent and drifting inward, both knees held close together. Her hands are loosely clasped in front of the top of her pencil skirt, fingers interlaced, the fingertips of her right hand resting on the back of her left. The inner-turned bob is neat and even, its ends curling under along her jaw on both sides, one side tucked behind her ear; a few strands stir faintly where the office air moves across her shoulder.
Her well-tailored black suit jacket is buttoned at a single point at her waist, its lapels falling open in a narrow V, the front edges pulling gently apart above the button so the white shirt shows through in a clean stripe down the center. The shirt's top two buttons are unfastened; the collar stands open and soft, the two points sitting away from the base of her throat so the bare skin of her neck reads clearly, and nothing sits at the throat. The jacket's shoulders sit square and precise, its sleeves ending at her wrists. Below, the black pencil skirt is tight and unbroken, hugging her hips and thighs and tapering to a straight hem at the knee, splitting only where she bends her left knee. The sheer black tights darken her legs evenly from the hem down, their fine weave catching the overhead light in a faint sheen along the front of each shin and over the tops of her feet; inside the pumps the tights smooth away the line of the shoe's edge. A soft upward shadow gathers inside the open collar and beneath the skirt hem.
The office lighting is diffuse and cool-neutral, coming from broad recessed ceiling panels and a wash of daylight from windows off to her right, so her face is lit evenly from slightly above and her right side is a touch brighter than her left; the light lays a low soft sheen along the top of her bob and down the front of the tights. The background is a defocused corporate interior โ the pale cool gray of partitions sliding into darker glass at the frame's upper right, the suggestion of a desktop and a chair reduced to soft shapes, a muted cool blue-gray behind her right shoulder โ blurred enough that none of it competes with her silhouette, and the shallow depth of field keeps a faint halo of light around the edge of her hair where the ceiling panels sit behind her. The palette holds to black, white, cool gray and the warm natural tone of her skin and face, nothing else admitted.
Photorealistic skin with visible fine texture, individual hairs along the bob's edge, the matte weave of the suit cloth and the faint ribbing of the tights, all rendered at photographic sharpness up to the point where the background defocus begins; the slight sheen of clean floor tile catching her inverted reflection, softer and darker than she is, at the bottom edge of the frame. Quiet, poised, effortlessly polished.
ใใ
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