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- Original Prompt
- 中年イケオジ男性が幼い女の子供にきれいな花束を渡している。女の子はかわいい服装。男性は秋の装い。女の子の姿は半分透けている。女の子は笑顔。男性は悲しそうな顔。夜の交差点の角。
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- lowres, worst quality, low quality, bad anatomy, explicit
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Similar Images
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2girl? no -- 2 people, 1girl, 1boy, older man, middle-aged man, handsome, sad, sorrowful expression, downturned mouth, furrowed brows, autumn attire, camel wool overcoat, dark brown turtleneck sweater, charcoal trousers, leather shoes, short black hair with grey at the temples, clean-shaven, tall, small girl, child, cute clothes, pale pink pleated dress, white peter pan collar, white tights, mary jane shoes, short light-brown hair, smiling, closed-lip smile, half transparent, translucent, ghostly, see-through body, faint pale edges, bouquet, flower bouquet, wrapped bouquet, holding bouquet, handing over, outstretched arm, offering, night, street intersection corner, crosswalk, traffic light, wet asphalt, from side, full body, wide shot, two-shot, depth of field, bokeh, cinematic lighting.
The view is a wide side-on two-shot at eye level from just off the crossing, the night intersection corner running diagonally behind them; the man stands at frame left on the wet pavement, turned in profile toward frame right, and the small girl stands at frame right facing him three-quarters toward the camera, so the bouquet passes between them at chest height across the middle of the frame. He is a tall, broad-shouldered middle-aged man with short black hair greying at the temples, clean-shaven, handsome in a settled, tired way, wearing a camel wool overcoat open over a dark brown turtleneck sweater and charcoal trousers, the coat's hem and shoulders heavy with the fabric's weight; his torso leans down and forward from the hips, right arm extended across the gap with the bouquet held out, fingers wrapped around the stems just below the paper wrap, left hand hanging loose and forgotten at his side, one heel lifted slightly off the wet ground as he reaches. His face is turned down toward the girl, brows drawn together and inner ends raised, lids lowered, mouth pulled down at the corners, a faint shine at the lower lid, the sadness held still rather than wept; his eyes are on the girl's face and do not leave it.
The girl is small enough that the bouquet is nearly half her height; she stands with her weight on her back foot, chin lifted up toward the man, and her short light-brown hair lifts a little at the ends though the air is still. She wears a pale pink pleated dress with a white Peter Pan collar, white tights and small dark Mary Jane shoes, and her hands are raised in front of her chest, palms open and fingers slightly spread, not yet touching the paper wrap, the near hand a few centimetres short of it. She is smiling, a small closed-lip smile with the corners tucked up and her eyes crinkled at the lower lids as she looks up into his face. Her whole figure is half transparent: the traffic light's red glow and the striped crosswalk behind her show through her dress, her arms and her legs at reduced strength, the stripes running faint but visible across the pink pleats, her outline soft and slightly paler than the world behind it, while her eyes, the corners of her smile and the tips of her fingers stay the most solid parts of her, and no shadow of hers falls on the pavement below.
The bouquet is the pivot of the composition: a broad hand-tied bunch of white and pale lilac blooms with sprigs of dark green foliage, wet from the evening, wrapped in matte kraft paper tied with a narrow ribbon, the paper creased and the drop of water on a petal catching the light; the blooms are the brightest thing in frame after the traffic signal. Behind them the corner opens into a crosswalk, a striped zebra running away diagonally, a pedestrian signal box glowing red on its pole at frame left, a convenience-store front and a parked bicycle blurred into bokeh further back, building facades going dark upward out of frame. The one strong light source is the intersection's overhead street lamp and the signal above and behind the man, throwing a warm top-light onto his shoulders, the crown of his head, the tops of the blooms and the girl's collar, and leaving the undersides of his jaw, the folds of his coat and the pavement in cool blue shadow; the wet asphalt carries long soft reflections of the red signal and the warm lamp, smeared and broken where the surface is rough. The palette is the camel and dark brown of the man's autumn clothes, the pale pink and white of the girl, the kraft-paper tan and lilac of the flowers against a night ground of desaturated blue-black with one red signal and one warm sodium key, and the mixed register of the two figures' solidity is the point of the image. Quiet, aching tenderness.
ている
2girl? no -- 2 people, 1girl, 1boy, older man, middle-aged man, handsome, sad, sorrowful expression, downturned mouth, furrowed brows, autumn attire, camel wool overcoat, dark brown turtleneck sweater, charcoal trousers, leather shoes, short black hair with grey at the temples, clean-shaven, tall, small girl, child, cute clothes, pale pink pleated dress, white peter pan collar, white tights, mary jane shoes, short light-brown hair, smiling, closed-lip smile, half transparent, translucent, ghostly, see-through body, faint pale edges, bouquet, flower bouquet, wrapped bouquet, holding bouquet, handing over, outstretched arm, offering, night, street intersection corner, crosswalk, traffic light, wet asphalt, from side, full body, wide shot, two-shot, depth of field, bokeh, cinematic lighting.
The view is a wide side-on two-shot at eye level from just off the crossing, the night intersection corner running diagonally behind them; the man stands at frame left on the wet pavement, turned in profile toward frame right, and the small girl stands at frame right facing him three-quarters toward the camera, so the bouquet passes between them at chest height across the middle of the frame. He is a tall, broad-shouldered middle-aged man with short black hair greying at the temples, clean-shaven, handsome in a settled, tired way, wearing a camel wool overcoat open over a dark brown turtleneck sweater and charcoal trousers, the coat's hem and shoulders heavy with the fabric's weight; his torso leans down and forward from the hips, right arm extended across the gap with the bouquet held out, fingers wrapped around the stems just below the paper wrap, left hand hanging loose and forgotten at his side, one heel lifted slightly off the wet ground as he reaches. His face is turned down toward the girl, brows drawn together and inner ends raised, lids lowered, mouth pulled down at the corners, a faint shine at the lower lid, the sadness held still rather than wept; his eyes are on the girl's face and do not leave it.
The girl is small enough that the bouquet is nearly half her height; she stands with her weight on her back foot, chin lifted up toward the man, and her short light-brown hair lifts a little at the ends though the air is still. She wears a pale pink pleated dress with a white Peter Pan collar, white tights and small dark Mary Jane shoes, and her hands are raised in front of her chest, palms open and fingers slightly spread, not yet touching the paper wrap, the near hand a few centimetres short of it. She is smiling, a small closed-lip smile with the corners tucked up and her eyes crinkled at the lower lids as she looks up into his face. Her whole figure is half transparent: the traffic light's red glow and the striped crosswalk behind her show through her dress, her arms and her legs at reduced strength, the stripes running faint but visible across the pink pleats, her outline soft and slightly paler than the world behind it, while her eyes, the corners of her smile and the tips of her fingers stay the most solid parts of her, and no shadow of hers falls on the pavement below.
The bouquet is the pivot of the composition: a broad hand-tied bunch of white and pale lilac blooms with sprigs of dark green foliage, wet from the evening, wrapped in matte kraft paper tied with a narrow ribbon, the paper creased and the drop of water on a petal catching the light; the blooms are the brightest thing in frame after the traffic signal. Behind them the corner opens into a crosswalk, a striped zebra running away diagonally, a pedestrian signal box glowing red on its pole at frame left, a convenience-store front and a parked bicycle blurred into bokeh further back, building facades going dark upward out of frame. The one strong light source is the intersection's overhead street lamp and the signal above and behind the man, throwing a warm top-light onto his shoulders, the crown of his head, the tops of the blooms and the girl's collar, and leaving the undersides of his jaw, the folds of his coat and the pavement in cool blue shadow; the wet asphalt carries long soft reflections of the red signal and the warm lamp, smeared and broken where the surface is rough. The palette is the camel and dark brown of the man's autumn clothes, the pale pink and white of the girl, the kraft-paper tan and lilac of the flowers against a night ground of desaturated blue-black with one red signal and one warm sodium key, and the mixed register of the two figures' solidity is the point of the image. Quiet, aching tenderness.
ている
2girl? no -- 2 people, 1girl, 1boy, older man, middle-aged man, handsome, sad, sorrowful expression, downturned mouth, furrowed brows, autumn attire, camel wool overcoat, dark brown turtleneck sweater, charcoal trousers, leather shoes, short black hair with grey at the temples, clean-shaven, tall, small girl, child, cute clothes, pale pink pleated dress, white peter pan collar, white tights, mary jane shoes, short light-brown hair, smiling, closed-lip smile, half transparent, translucent, ghostly, see-through body, faint pale edges, bouquet, flower bouquet, wrapped bouquet, holding bouquet, handing over, outstretched arm, offering, night, street intersection corner, crosswalk, traffic light, wet asphalt, from side, full body, wide shot, two-shot, depth of field, bokeh, cinematic lighting.
The view is a wide side-on two-shot at eye level from just off the crossing, the night intersection corner running diagonally behind them; the man stands at frame left on the wet pavement, turned in profile toward frame right, and the small girl stands at frame right facing him three-quarters toward the camera, so the bouquet passes between them at chest height across the middle of the frame. He is a tall, broad-shouldered middle-aged man with short black hair greying at the temples, clean-shaven, handsome in a settled, tired way, wearing a camel wool overcoat open over a dark brown turtleneck sweater and charcoal trousers, the coat's hem and shoulders heavy with the fabric's weight; his torso leans down and forward from the hips, right arm extended across the gap with the bouquet held out, fingers wrapped around the stems just below the paper wrap, left hand hanging loose and forgotten at his side, one heel lifted slightly off the wet ground as he reaches. His face is turned down toward the girl, brows drawn together and inner ends raised, lids lowered, mouth pulled down at the corners, a faint shine at the lower lid, the sadness held still rather than wept; his eyes are on the girl's face and do not leave it.
The girl is small enough that the bouquet is nearly half her height; she stands with her weight on her back foot, chin lifted up toward the man, and her short light-brown hair lifts a little at the ends though the air is still. She wears a pale pink pleated dress with a white Peter Pan collar, white tights and small dark Mary Jane shoes, and her hands are raised in front of her chest, palms open and fingers slightly spread, not yet touching the paper wrap, the near hand a few centimetres short of it. She is smiling, a small closed-lip smile with the corners tucked up and her eyes crinkled at the lower lids as she looks up into his face. Her whole figure is half transparent: the traffic light's red glow and the striped crosswalk behind her show through her dress, her arms and her legs at reduced strength, the stripes running faint but visible across the pink pleats, her outline soft and slightly paler than the world behind it, while her eyes, the corners of her smile and the tips of her fingers stay the most solid parts of her, and no shadow of hers falls on the pavement below.
The bouquet is the pivot of the composition: a broad hand-tied bunch of white and pale lilac blooms with sprigs of dark green foliage, wet from the evening, wrapped in matte kraft paper tied with a narrow ribbon, the paper creased and the drop of water on a petal catching the light; the blooms are the brightest thing in frame after the traffic signal. Behind them the corner opens into a crosswalk, a striped zebra running away diagonally, a pedestrian signal box glowing red on its pole at frame left, a convenience-store front and a parked bicycle blurred into bokeh further back, building facades going dark upward out of frame. The one strong light source is the intersection's overhead street lamp and the signal above and behind the man, throwing a warm top-light onto his shoulders, the crown of his head, the tops of the blooms and the girl's collar, and leaving the undersides of his jaw, the folds of his coat and the pavement in cool blue shadow; the wet asphalt carries long soft reflections of the red signal and the warm lamp, smeared and broken where the surface is rough. The palette is the camel and dark brown of the man's autumn clothes, the pale pink and white of the girl, the kraft-paper tan and lilac of the flowers against a night ground of desaturated blue-black with one red signal and one warm sodium key, and the mixed register of the two figures' solidity is the point of the image. Quiet, aching tenderness.
ている
2girls, no humans?, one adult man, one little girl, black hair, twintails, low twintails, cute outfit, pink dress, lace trim, hair bow, semi-transparent, ghost, translucent body, bouquet, flowers, holding flowers, offering flowers, handing flowers, smiling, happy, open mouth smile, man, middle-aged, handsome, autumn outfit, camel coat, wool overcoat, dark turtleneck, charcoal trousers, sad, sorrowful, melancholy eyes, looking at girl, standing, gentle lean, night, city street, street corner, intersection, crosswalk, traffic light, from side, cowboy shot, depth of field, bokeh, cold blue night palette, warm amber highlights
The shot is a side-on cowboy framing at a night intersection: the middle-aged man stands at frame left on the wet asphalt corner, angled three-quarters toward the right, and the little girl stands at frame right facing him, her black twintails hanging past her shoulders and the small bow sitting in her hair. His torso leans slightly toward her, weight on his back foot, both hands cupped under the bouquet as he holds it out across the space between them at her chest height; her hands come up and close around the wrapped stems from the far side, fingers meeting his knuckles at the paper. Her chin lifts toward his face and her smile is open and easy, eyes crinkling; his brows are drawn and his mouth is set flat, gaze lowered to her hands on the stems rather than her face. She is half transparent — the crosswalk stripes, the far sidewalk and a red traffic signal glow read straight through her dress and her arms, her edges softest at the hem and the tips of her twintails, while the bouquet stays fully opaque where her hands are around it.
Behind them the intersection corner: a dark utility pole and the signal housing with its small green pedestrian lamp on the near corner, blurred building fronts and a lit convenience-store window receding into bokeh farther back, the road surface black and mirror-wet with a smear of signal light stretched along it. The single dominant light is the cold blue-white of the overhead streetlamp above and behind the man, rimming his shoulders and the top of his head; a warm amber spill from the storefront catches the girl's translucent cheek and one side of the bouquet, and that warmth carries faintly through her see-through arm onto the asphalt, a dim glow rather than a shadow. The man's camel wool coat holds a soft nap in the rim light, the turtleneck dark against it, thin rain sheen on his shoulders. Palette of cold night blues and blacks against the amber warmth and the flowers' pale pinks and whites and greens; the wet road reflects the signal a little darker and softer than the source. Quiet, tender grief.
ている
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