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Ed Ryan

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Ed Ryan

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Change the lighting in image1 to bright daytime and remove all neon graffiti from the walls, counter, and tables, while keeping the composition — the arranged wooden tables and chairs, scattered plates, hanging lamp, and windows — unchanged. The rest of the image remains the same as the input image1.
Show Parameters
Original Prompt
change to daytime and remove graffiti
Mode
pro
Quality Tag
﹝Prompts﹞
Size
1088 x 1824
Sampling Method
Euler
Prompt Helper

Model & LoRA used

Tsubaki.3 - AI Model cover image

PixAI DiT.3

Tsubaki.3
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wide shot, no humans, empty boarding school canteen at night, long rows of wooden trestle tables and attached benches, tall multi-paned windows, dark outside, single hanging fluorescent tube lit, moonlight through glass, graffiti marks, halftone dots, thick outlines, neon color accents, dutch angle, from below A wide, empty boarding school canteen at night seen in a wide shot from a low dutch angle, the floor tilted so the long rows of trestle tables run diagonally away from the camera and converge toward the dark window wall at the back. Nobody is in the room: bench seats are pushed in at odd angles, one bench pulled fully out and left askew, a couple of enamel trays stacked and forgotten at the near end of the leftmost table, crumbs and a tipped-over cup on the varnished boards. The room is large and institutional — high ceiling with exposed pipes, a serving counter with steel shutters pulled down along the right wall, a noticeboard of curling papers on the left. Every table surface catches the one light source: a single fluorescent tube burning in the middle of the ceiling, hanging slightly crooked on its chain. That tube is the only light; it lays a cold white-green pool over the central tables and the darkness beyond it is absolute, the far corners and the ceiling above the fixtures swallowed whole. Through the tall multi-paned windows along the back wall, deep blue night presses in and a thin moon throws pale rectangles of light across two of the far tables, brighter at the edges of the panes and cut into strips by the muntins; those moonlit patches fall only on the upward-facing boards and the tops of the benches, never on the vertical table legs or the floor between them. The tube's reflection on the varnished tabletops is dimmer and softer than the tube itself, stretched long down the boards. Palette: cold white-green fluorescent core, deep midnight blue through the glass, warm ochre-brown of old varnish and wooden benches in the lit zone, everything else sinking to near-black; punchy neon accents snapped in — a hot magenta strip on the shuttered counter's edge and electric cyan graffiti scrawl across one tabletop and along the base of the window wall, drawn in thick marker with halftone dot shading in the graffiti fills, bold black outlines on every object edge, and flat halftone dot gradients in the shadows instead of smooth airbrush. Chaotic pop-graphic energy in the tilted composition and the graffiti marks, but the room itself stays still, emptied out after hours. Quiet, held-breath hush.
Ed Ryan

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