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Rock P
Arte de IA de Rock P no PixAI. Criado com Haruka v2.
Mostrar Parâmetros
- Entrada de Instrução Original
- Barefeet,toes, soles, close-up, foot focus,cum on feet,cum on soles,cum overload,cum on toes , feet
- Tamanho
- 643 x 617
- Passos de Amostragem
- 28
- Método de Amostragem
- Euler a
- CFG scale
- 5
- Negativo
- nsfw, worst quality, bad quality, low quality, lowres, anatomical nonsense, artistic error, bad anatomy, interlocked fingers, extra fingers, text, artist name, signature, bad feet, extra toes, ugly, poorly drawn, censor, blurry, watermark, simple background, transparent background, old, oldest, glitch, deformed, mutated, disfigured, long body, bad hands, missing fingers, extra digit, fewer digits, cropped, very displeasing, sketch, jpeg artifacts, username, censored, bar_censor, mosaic_censor, conjoined, bad ai-generated, nsfw, long neck, skin blemishes, skin spots, acne, the wrong limb, error, black line, excess hands
Modelo & LoRA usado
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A highly realistic, low-light, dimly lit indoor photograph taken with a smartphone camera in a dark bedroom at night, extreme close-up low-angle shot from below looking up at a pair of male bare feet held up toward the camera in a playful “smell my feet” pose. The dominant foot in the extreme foreground is the left sole, filling most of the left-center of the frame, extremely close to the lens, slightly out of focus due to the extreme proximity, showing soft pale skin with visible texture, slight wrinkles on the sole, rounded fleshy toes slightly curled, clean but natural-looking nails, subtle creases under the toes and along the arch. The right foot is raised higher and further back on the right side of the frame, more in focus, showing the sole and side of the foot with dense dark body hair covering the top of the foot, ankle, and lower leg, the toes pointing upward. Both feet belong to a young adult male with medium-fair skin tone, moderately hairy legs. The man is lying on his back on a bed, upper body partially visible in the background on the left side: he is wearing a tight black sleeveless tank top that reveals muscular arms and shoulders, one arm bent with his hand near his face, dark short messy hair, face partially obscured and turned slightly away or covered by his arm in the shadows. Soft dim ambient room lighting coming from a weak source on the left, creating strong contrast, deep shadows, and a grainy low-light aesthetic typical of phone cameras in the dark. Background shows a plain light-colored wall with a white electrical switch or outlet plate visible in the upper left, a light-colored pillow or bedding under his head and shoulder, dark fabric of the bed or sheets in the lower part. Slight motion blur and softness on the closest foot, realistic skin texture with pores and fine hairs, natural body hair on the legs, casual and intimate atmosphere, Halloween-themed playful “trick or treat smell my feet” vibe, raw unedited snapshot style, high detail on skin texture and foot anatomy, muted desaturated colors due to low light, slight blueish-gray cast from the dim lighting.
Sebasdiamont
sm
close-up, feet, bare feet, barefoot, white painted toenails, ten toenails, toes, soles, arch of the foot, skin texture, soft curves, resting on pale linen, from above, foreshortening, warm light, shallow depth of field, no shoes, no socks, no nail polish other than white, no anklet, no tattoo, no text
From directly above, a close-up fills the frame with a single pair of bare feet, seen from the crown of the shot looking down the length of the legs; the near foot lies diagonally across the lower third with its toes toward the right edge, the far foot tucked behind and slightly higher, half in shadow. Ten toenails are painted a crisp opaque white, each one a small flat lacquered plane that catches a thin highlight along its curve; the polish stops cleanly at the cuticle, the surrounding skin left bare. The soles rest on rumpled pale linen that creases into the arch of the near foot, and the toes press down into the fabric, denting it into shallow valleys that run away from each toe. Every toe is articulated -- the big toe longest and squared at the tip, the little toe curled slightly inward -- and each nail shows its own angle to the light: the left-foot nails catch the source full-face and read bone white, the right-foot nails, turned away, settle to a cooler grey white but never lose their white; no colour creeps into them. A soft warm key light falls from the upper left, grazing the top plane of each nail and the ridge of each toe, so the toes cast short soft shadows across one another and the feet cast a diffuse shadow that bunches the linen on their lower right. Beneath and behind, the sheet recedes out of focus into a seamless pale off-white field, no horizon, no object. The palette is held to skin, white lacquer and the paper-pale linen, nothing else admitted; the lacquer is the coolest, hardest surface in the frame and reads as a deliberate small bright note against warm living skin. The skin's texture -- fine pores at the ball of the foot, faint creases at the knuckles of the toes, a dry pale edge at the heel -- carries the detail budget, and the fabric's soft grain answers it. The camera sits at a close range with shallow depth of field: the near foot's toes razor-sharp, the far foot just softening, the linen behind melting away. Intimate and quiet.
Sanic Monia
sm
close-up, feet, bare feet, barefoot, white painted toenails, ten toenails, toes, soles, arch of the foot, skin texture, soft curves, resting on pale linen, from above, foreshortening, warm light, shallow depth of field, no shoes, no socks, no nail polish other than white, no anklet, no tattoo, no text
From directly above, a close-up fills the frame with a single pair of bare feet, seen from the crown of the shot looking down the length of the legs; the near foot lies diagonally across the lower third with its toes toward the right edge, the far foot tucked behind and slightly higher, half in shadow. Ten toenails are painted a crisp opaque white, each one a small flat lacquered plane that catches a thin highlight along its curve; the polish stops cleanly at the cuticle, the surrounding skin left bare. The soles rest on rumpled pale linen that creases into the arch of the near foot, and the toes press down into the fabric, denting it into shallow valleys that run away from each toe. Every toe is articulated -- the big toe longest and squared at the tip, the little toe curled slightly inward -- and each nail shows its own angle to the light: the left-foot nails catch the source full-face and read bone white, the right-foot nails, turned away, settle to a cooler grey white but never lose their white; no colour creeps into them. A soft warm key light falls from the upper left, grazing the top plane of each nail and the ridge of each toe, so the toes cast short soft shadows across one another and the feet cast a diffuse shadow that bunches the linen on their lower right. Beneath and behind, the sheet recedes out of focus into a seamless pale off-white field, no horizon, no object. The palette is held to skin, white lacquer and the paper-pale linen, nothing else admitted; the lacquer is the coolest, hardest surface in the frame and reads as a deliberate small bright note against warm living skin. The skin's texture -- fine pores at the ball of the foot, faint creases at the knuckles of the toes, a dry pale edge at the heel -- carries the detail budget, and the fabric's soft grain answers it. The camera sits at a close range with shallow depth of field: the near foot's toes razor-sharp, the far foot just softening, the linen behind melting away. Intimate and quiet.
Sanic Monia
b
, old mother, mom, mother, mature female
banane
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