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Joshua Froat

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pov, first-person view, kissing, leaning forward, hands on another's cheeks, hood up, yellow raincoat, open clothes, white kimono, torn clothes, long hair, messy hair, black hair, pale skin, grey skin, freckles, almond-shaped eyes, pale eyes, blue lips, black nails, blush, wide hips, medium breasts, large ass, petite, 1girl, 1boy, man's face, nose bridge to nose bridge, close-up, depth of field, eye contact. The camera is the man's eyes: his nose and cheekbones rise from the bottom edge of the frame in heavy, out-of-focus foreground, and his hands are not in shot because hers are the ones that matter. She fills the frame from the chest up, tipped forward off her own balance -- hips pushed back well behind her shoulders, the open yellow raincoat swinging in two long loose panels down past her ribs, its hood up and pulled low over her forehead so the black hair spills out in unruly tangles at the temples and along the fur of the hood's rim. Her palms cup his jaw on both sides, fingertips pressed into his cheeks, the black nails showing against his skin, thumbs near the hinge of his jaw. Her small, very pale grayish face is set at a slight tilt, chin lifted, so her pale blue lips meet his at the center of the image, mouth already pressed soft and slightly flattened by the contact; her pale white almond eyes are narrowed and slanted, dark-lashed, half-closed and aimed straight down into his, unbroken. Blush sits high and warm across the tops of her cheekbones, its pink reading strongly against the gray of her skin, and the freckles scatter across the bridge of her nose and both cheeks in uneven clusters where the light catches. Beneath the open coat, the torn white burial kimono: the collar crossed right over left, its white cloth torn at the shoulder seam so a frayed strip hangs, the fabric creased and hemmed stiffly like a garment that has been folded a long time, the coat's open front letting the white show in a long narrow wedge down her sternum. Light comes from a single lamp high and to the left behind him, so it rims the hood, the ridge of her nose and the wet curve of her pale blue lower lip, leaves the inside of the hood dark around her hair, and throws the shadow of her own leaning body across the white kimono; where her warm exhale meets his mouth the air near the kiss is faintly hazed. Palette holds to yellow, white, gray and black with one warm blush accent and nothing else. Intimate, unsettling.
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Original Prompt
a petite very pale grayish skinned Japanese woman, with long black mess hair, pale white slanted almond shaped eyes, black nails , pale blue lips, freckles on her cheeks and nose, wide hips, medium breasts, a large ass, wearing A long yellow open, rain coat, hood up, a torn white burial kimono, hands on cheeks, blushing , leaning forward, kissing a man, (mans pov)
Mode
pro
Quality Tag
๏นPrompts๏นž
Size
1104 x 1824
Sampling Method
Euler
Negative
lowres, worst quality, low quality, bad anatomy, explicit
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Model & LoRA used

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Avatar image of Joshua Froat
1girl, solo, petite adult woman, very pale grayish skin, long messy black hair, pale white slanted almond eyes, black fingernails, pale blue lips, freckles on cheeks and nose, wide hips, medium breasts, large ass, long yellow raincoat, open coat, hood up, torn white burial kimono, hands on own cheeks, blush, floating, levitating slightly off the ground, looking away, from below, full body, dutch angle, abandoned mansion interior, dark, atmospheric The camera sits low and tilted, looking up at her from floor height in a grand ruined entrance hall: a petite adult woman hangs a hand's width above the floorboards, knees slightly bent, toes pointed down and not touching the ground, the long yellow raincoat hanging open and swinging a little behind her as though the air under her were lifting it. Both her palms are pressed flat to her own cheeks, fingers splayed back along her jaw, the black nails stark against grayish skin; the pressure of her own hands pushes her lower lip into a slight pout and deepens the blush across her freckled cheeks and the bridge of her nose. Above the two hands her pale white almond eyes, slanted at the outer corners, are turned off to frame left, looking away past the camera toward a broken window, lashes lowered a touch, avoiding the viewer entirely. The yellow hood is up, its brim pulled forward so long messy black hair spills out at the temples, over her shoulders and down her back in loose tangles, a few strands caught between her fingers and her cheek. Under the open raincoat the torn white burial kimono is visible: the collar crossed left over right, the chest flat with a folded triangular front, the sleeves hanging wide and ragged at the hems, loose threads, a long tear up one side showing a narrow strip of grayish hip and thigh; the kimono is tied with a worn sash, and where the coat swings back her wide hips and the curve of her rear read through the thin fabric. Pale blue lips are slightly parted, a cool tint that matches the little color left in her skin. The light comes only from the broken window on frame left: cold bluish daylight in a shaft that crosses her body, bright along the left edge of the hood and the backs of her left hand, leaving her right side in near-darkness and casting a soft shadow of her floating body down onto the dusty floorboards below the gap between her feet and the ground, the shadow smaller and blurrier than she is. Dust motes hang in the beam and drift slowly, and her hair and coat lift as if lifted by the same faint air. Behind and above her the mansion recedes in layers: a grand staircase with a collapsed banister, peeling wallpaper showing darker rectangles where paintings were removed, a chandelier hanging crooked and half stripped of its crystals, a doorway into a darker room, and a window with a cracked pane on the left spilling that one cold shaft of light; the whole background is desaturated gray-brown and drowned in shadow, letting the yellow coat and the white kimono be the only true notes of color, so the hall swallows everything else. The negative space above her is the highest part of the hall, so the low angle makes her seem to hover under a great deal of heavy darkness. Haunting, quietly melancholic.
Joshua Froat
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Avatar image of Joshua Froat
1girl, solo, petite, adult woman, very pale grayish skin, long messy black hair, pale white slanted almond shaped eyes, black painted nails, pale blue lips, freckles on cheeks and nose, wide hips, medium breasts, large ass, long yellow open raincoat, hood up, torn white burial kimono, crawling out of a television, water leaking from television, abandoned mansion, crawling, on hands and knees, from above, close-up, looking up, looking at viewer, wet hair, wet clothes, dark interior, single light source, cold blue palette, muted yellow Seen from above at a steep downward angle: the dark screen of a heavy old cathode-ray television fills the lower half of the frame, its glass split by a jagged vertical crack, and the woman is crawling out of it head-first, shoulders already through the glass, both forearms braced outside the frame on the rotting floorboards of an abandoned mansion. Her weight rides on her palms and knees; her right palm spreads flat on the wet boards with black-nailed fingers splayed, her left hand still gripping the cracked inner rim of the set, leaving her hips and the long yellow raincoat bunched and dragged behind her inside the television mouth. Her hood is up over her head, its brim soaked and deforming with damp, and long messy black hair spills out under it in wet strands that stick to her pale grayish cheeks and neck. Lit from below by the television's own spill, her upturned face picks out pale white slanted almond eyes rolled up at the lens, pale blue lips parted on a breath, and freckles scattered across her nose and cheeks. The white burial kimono is torn open across the shoulders and chest, its frayed cloth soaked translucent at the sleeves, and the long yellow raincoat hangs open off her wide hips and bust, its hem trailing back into the screen. Water runs in dark threads between the floorboards, pools around her braced hands, and beads down the television's plastic shell, its sheen broken along the curved underside where every lit face catches the glare and the flats stay black. Beyond the television's small pool of sickly cold blue-green glow the mansion is absolute black: the near edge of a sagging wallpaper wall, a fallen chair leg half in shadow, nothing more. Palette: cold desaturated blue-green in the light, sickly muted yellow on the raincoat, papery white on the kimono, no other color admitted. Quiet dread.
Joshua Froat

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