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神撫子と白い蛇

神撫子と白い蛇 AI art by ピー on PixAI. Made with Tsubaki.3 Flash.

Published on Nov 14, 2026

ピー

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1girl, solo, full body, full-length portrait, photorealistic, real-life photographic style, albino, pale translucent skin, white hair, long hair, medium hair, short hair, living hair, snake hair, snakes emerging from hair, white snake, red eyes, large breasts, G-cup bust, white dress, sundress, school uniform, ribbon, bare ears, looking at viewer, standing, contrapposto, arms relaxed at sides, hand at hip, from below, slight low angle, vertical composition, seamless pale grey studio sweep A single young woman stands full-length in a seamless pale-grey studio sweep, the camera low and close to the floor so the vertical frame runs her whole body from the soles of her feet to the crown of her head with a sliver of empty grey above. She is albino: skin chalk-white and faintly translucent, the fine blue tracery of veins showing at her wrists and the sides of her throat, a cool flush at her knees and knuckles, no warmth anywhere in the flesh tones except a thin pink at the rim of her nostrils and the wet line of her lower lip. Her hair is white — long, falling past her shoulder blades, but the silhouette is deliberately uneven: a short blunt fringe clipping the brow, a medium-length lock swinging free at the jaw, and the long mass behind — and it is alive: four white serpents lift out of the white mass, one rearing above her right temple and turning its head toward the lens, one coiling down over her left shoulder and along her collarbone, one draped behind her neck with only its pale back and the ridge of its spine visible between the strands, one sliding down the length of her hair at her back so its tail trails below her waist. Their scales catch the light as fine, overlapping, wet-looking plates, and each has a small dark eye and a flicking forked tongue. Her own eyes are red — a clear, luminous ruby red with pale lashes, the red iris lit from within by the studio light and edged with a darker limbal ring. She wears a white sundress: fine cotton, sleeveless, thin straps over the shoulders, a fitted bodice drawn snug across a G-cup bust so the fabric tents and creases beneath the breasts and the seam strains at the side, and a full skirt falling to mid-calf with a soft hem. Over it, worn open and pushed back off the shoulders, a school-uniform blazer in a slightly cooler white with a notched lapel and a breast pocket; at her throat a wide white ribbon tied in a flat bow, its tails lying over the dress. Her feet are bare on the seamless paper. Both ears are bare, no earrings, no hair ornaments beyond the serpents themselves, nothing clipped in the hair. Her weight is on her left leg, right knee slightly bent and right heel lifted, hip pushed out; her left hand rests flat at the top of her hip, fingers spread over the dress seam, and her right hand hangs loose with the knuckles just brushing the skirt's outer fold. Her chin is tipped down a little and her eyes come straight to the lens, calm and slightly amused, one brow fractionally higher than the other, mouth closed and relaxed. One serpent's tongue flicks toward her cheek and a strand of hair lifts with it. The lighting is a single large softbox high and to her left: it lays a broad highlight down the left side of her face, shoulder and the swell of the dress, drops the right side of her body into a soft graduated shadow, and throws a long soft shadow of her legs and skirt onto the paper floor to the right. The white snakes read as brighter than the white cloth because their scales are specular, and the shadow of the rearing serpent falls across her hair rather than across her face. The palette is almost entirely white on white — the paper, the dress, the blazer, the hair, the snakes — separated only by the cool blue-grey of the shadows and the single hot red of her eyes. Shallow depth of field keeps her sharp and softens the paper behind her. Quiet, uncanny poise.

神撫子と白い蛇

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