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przyciemnione oświetlenie AI Art & Prompts

Explore the trending 706 przyciemnione oświetlenie artworks

AI artwork
Avatar image of C9I
2 subjects, one massive shadowy raven, one tiny glowing white light, wings spread wide like a protective shield, hunched over, head lowered, from below, low angle, wide shot, dutch angle, heavy snowfall, blizzard, dark freezing snowstorm, tiny glowing light cradled beneath the wing, curled insect-like mote of light, pale watchful eyes, glowing eyes, rim lighting, backlighting, silhouette, deep blacks, silver, soft white, monochrome with pale glow, high contrast, volumetric light, snow particles lit only near the light, dark fantasy, cinematic, film grain, highly detailed, no text, no watermark The camera sits low and close to the drift, tilted a few degrees off level, looking up from beneath the raven's breast so the bird towers across the upper two thirds of the wide 16:9 frame while the light huddles in the lower left third. The raven's body is a hunched mass of matte black feathers, its back arched against the storm; both wings are flung open and slightly forward, the near wing sweeping down and toward the lens with its primaries spread and its underside turned to the viewer, the far wing raked up and back, together tenting a hollow of still air beneath the breast. Feathers along the shoulders are ruffled and lifted by the gale, each barb silvered where the glow grazes it. The head is bowed and turned in three-quarter profile toward the hollow, hooked beak angled down, and both pale eyes are luminous discs set in the dark skull, catching the mote of light from below so the pupils stay black pinpricks; the gaze is fixed on the small glowing thing, unblinking, and does not leave it. Beneath the near wing, sheltered in the pocket of the raven's breast, hangs the light: a mote no bigger than an insect, a soft white core with a feathered halo and two faint trailing threads like folded wings or a wisp of soul, drifting a finger's width above the snow yet untouched by it. It is the brightest thing in the frame and the only warm-white source; its glow falls upward on the raven's throat and inner wing and downward in a shallow cone that picks out the crusted snow directly beneath, leaving the rest of the ground in absolute black. The raven's eyes are the only other light, a thin cold gleam, and beyond their two small pools and the mote's halo the darkness is total. Snow falls heavily through the whole frame, streaks and fat flakes driven almost horizontal by the wind, and each flake only becomes visible as it crosses the light's cone or the rim of an eye-gleam, flaring silver for an instant before vanishing back into the void; the flakes that land on the raven's raised wing-tops gather there and nowhere else. The environment is a featureless night blizzard: no horizon, no trees, only a low snowdrift banked around the bird's feet and the wind-combed ridges of the ground losing themselves in black. Palette is restricted to deep black, cold silver-grey and soft white, the white appearing only in the glow, the falling flakes and the faint snow-shine, everything graded toward charcoal at the edges. Fine film grain sits over the entire frame, edges soft with atmospheric haze near the lens, the drifting snow slightly out of focus in the foreground. Protective, melancholic, sacred.
C9I
AI artwork
Avatar image of C9I
1 raven, no humans, black raven, perched, sitting still, windowsill, wooden windowsill, dark room interior, night, window, rain-streaked window, wet glass, condensation, fogged glass, blurred background, rain, night sky, fog, faint light, amber light, distant light, looking at light, side profile, from behind, from side, sitting, still, melancholic, lonely, sorrowful, quiet, cinematic lighting, film noir, heavy film grain, deep blue palette, grey tones, low light, backlit, wide shot, 16:9, no text, no watermark, no signature, no lettering, no people. A wide 16:9 cinematic frame shot from inside a dark unlit room, across the room toward a large window at night. The camera sits low and slightly to the left, near the window's lower third, so the sill runs as a horizontal band across the frame and the glass fills the upper two thirds; the interior behind and around the lens is near-black, a sliver of dim wall and floor falling away into shadow at the left edge. The window panes are heavy with condensation: dense beaded droplets crowd the corners and the lower rail, and where the beads have gathered they slump and run in slow crooked tracks down the glass, each runnel dragging a thin clear streak through the fog. Outside, rain streaks the far side of the panes diagonally, and the whole outside world is smeared into soft undefined shapes -- a crush of blurred grey-blue rooftops and tree masses with no readable edges, warped and doubled by the water, like a world seen through tears. Cold dark fog presses right up against the glass, swallowing depth until only the nearest smear of it is distinct. Out in that fog, low and a little left of centre, burns a single tiny warm light, a small amber point no bigger than a pinhead, its soft halo bitten and broken into spikes by the condensation beads in front of it. It is visibly mid-fade: the core still glows warm amber while its outer bloom has already thinned into cold grey mist, the light bleeding away into the fog rather than shining through it. That amber point and its smeared reflection are the only warm colour in the frame. On the wooden windowsill, right of centre and forward of the glass, sits a black raven, alone. Its body is turned away from the camera and toward the window, seen from behind in a near three-quarter back view: a heavy teardrop silhouette, tail feathers hanging down over the sill's edge, hunched shoulders, head lowered and pushed forward, beak aimed straight at the fading light. Its black plumage catches a thin cold blue rim along the crown, the shoulder line and the folded wing edge where the window's faint light wraps it; the rest of the body is a dense unbroken black. Both feet grip the sill, dark claws closed on the wood grain, and the bird is utterly motionless -- no wing lifted, no tail flicked, nothing in motion but the rain. The sill's worn wooden grain runs horizontally under the bird, its top surface catching a faint cold sheen from the glass while the wood beneath the raven drops to shadow; a few beaded drops have slid down the pane and pooled in the sill's inner groove. The raven's eye and its whole posture aim at the amber light, and the light is too far and too far gone to answer. The window is the only light source. Its cold blue-grey glow falls across the sill, the raven's back and the near wall, and everything behind the camera-facing edge of the frame falls off into absolute interior darkness with no second source. Deep blues and desaturated greys hold the entire image; a soft fading amber glow sits only outside at that single tiny point and in its reflection on the wet glass. Heavy film grain textures the shadows and the fog alike, edges stay soft where the glass blurs them and sharp only on the raven's rim and the sill's near grain. Melancholic, quiet.
C9I
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