Make One Macro Photograph, Tall 916 Portrait, Of A Handmade...
Category: General | Model: Stable Diffusion
Make One Macro Photograph, Tall 916 Portrait, Of A Handmade...
Prompt Text
Make: one macro photograph, tall 9:16 portrait, of a handmade 1:12 scale dollhouse parlour that restages Image 1. Style: Pastel Plague Dollhouse Apocalypse, described below. Image 1 (attached): reference for composition, pose, face, hair and room layout. Keep the camera position, the framing from mid-shin up, her central seated pose, her hands resting one over the other in her lap, her level gaze into the lens, and the position of every candle group, frame and piece of furniture. Replace every material and colour with the ones below. Do not keep its dark palette or its gloom. The style: a pale powder bloom has grown over everything in the room. It is a soft powdery mould that whitens dark surfaces, the way old dark chocolate turns grey-lilac with bloom. Each surface keeps its hue and loses its depth, so every colour in the picture is an old dark colour under white powder. In places the powder has grown into small raised velvety rosettes, like lichen, each tinted by the surface under it. Powder has settled in soft drifts in the corners and along the skirting. One thing has escaped the bloom: her hair. The doll: a Victorian poured-wax doll sculpted in the exact likeness of the woman in Image 1. Same face shape, same straight brows, same grey-green eyes, same composed unsmiling mouth, adult proportions. Translucent ivory wax skin with a faint powdery bloom on the cheekbones, brow bone and knuckles. Glass eyes. Her smoky eye makeup has bloomed to a soft smoky mauve. Dusty rose lips. Tiny pastel bead rings on her wax fingers. Her hair: real human hair rooted in the wax scalp, as Victorian wax-doll makers did it. Sharply centre-parted, falling straight past her waist on both sides. Glossy jet black with blue-black highlights, completely clean of powder. It is the only black in the whole picture, a single hard black shape in a pale image, on purpose. Her gown: the same cut as Image 1. The black velvet has bloomed to lilac-grey, and the deep vertical folds of the skirt hold violet shadow, so the velvet keeps its full weight and volume. The square neckline ruffle and cuff ruffles are ivory lace crusted with bloom until they look like piped royal icing. The bodice lacing is dusty-rose satin ribbon, crossed and tied in a bow, the ends hanging down the skirt. At the hem, fuzzy mint and lilac rosettes climb the skirt from the rug. Choker: a lilac velvet ribbon with an oval cameo, a sugar-white profile on pale lavender in a pale pewter frame. Earrings: long pale pewter filigree drops with milky violet stones. The chair: the same wingback armchair, its velvet bloomed to powder blue-grey, rosettes along its seams and piping. The room, all handmade at 1:12: - Wallpaper: printed paper damask, pale pistachio with a cream pattern. One seam between two sheets runs slightly out of register, and a corner of the paper lifts near the mantel. - Panelling, mantel, console table and the scalloped side table: basswood with grain far too coarse for the scale, bloomed to pale oatmeal with a peach undertone. Small beads of dried glue at the joints. - Portraits: the same salon hang and the same sitters as Image 1. Tiny oil paintings in carved frames whose gilt has bloomed to chalky butter-cream. The sitters' dark clothes have bloomed lilac and blue-grey, and their faces are soft under the powder, as if seen through frosted glass. The oval miniatures on the left wall match. - The moth: in place of the small portrait in the top-right corner, a real rosy maple moth rests on the wall with its wings spread flat, fuzzy rose-pink and butter-yellow, as big as a large frame, like one more picture in the hang. A fine pink haze of its wing-dust sifts down through the candlelight. - Candles: every candle from Image 1, tapers and pillars, in the same holders, is now a rolled pastel candle in sugared-almond colours: rose, mint, lemon and lilac. Every candle is lit. Each flame is huge for the room: a calm, steady teardrop nearly as tall as its candle and as tall as the doll's head, the size a real candle flame looks beside dollhouse furniture. Pastel wax has run down the candelabras in long drips and pooled on the mantel and console. Beside the side table at lower left, a translucent pink wax pool has flooded the rug, its pattern visible underneath. - Candelabras: jewellery findings and wire, bloomed pale pewter-lavender, with rosettes along the arms. The cut-glass candlesticks are stacked glass beads, frosted pale aqua like sea glass. - Rug: printed silk on card, the Persian pattern bloomed to dusty rose and cream. Floor: one sheet of basswood scored into boards. - Mirror: the tall mirror at the far left edge, its frame butter-cream. Its glass does not show the parlour. It shows the world outside the dollhouse's open front: a vast full-size attic, out of focus, with huge roof beams, a round window of flat white sky, and powder drifting down a shaft of light. Intrusions from the full-size world, huge at this scale: - An unstruck safety match with a pink head leans against the left end of the mantel like a staff, taller than the candelabra. - A pearl-headed dressmaker's pin is driven into the rug at lower right like a lance, its pearl head level with her lap. Bloom texture: the powder is a physical deposit, in sharp focus. Fine grains sit in the velvet pile, in each groove of the wood grain, in the recesses of the carving and along the top edge of every frame. Glass wears a thin frosted film. On her wax skin it sits only on the high points, like face powder. The rosettes are small, raised and velvety, with slightly paler rims. Light: only the candle flames, from the left mantel and the right console, as in Image 1. The powder in the air scatters their light into a soft milky glow that fills the room, so the whole image is pale and high-key. Warm peach light near the flames, cooling to lavender in the upper corners. Shadows are lilac-grey, never black. Brightest: the flames, her face, the lace. Darkest: her hair. Palette: lilac-grey gown (#C8C1D7) with violet folds (#6E5F84), powder blue-grey chair (#A7B1C5), pistachio wallpaper (#D3E2C6) with cream damask (#FFF5E1), pale oatmeal wood (#DCC8AB), butter-cream frames (#F6E6BF), dusty rose rug (#D8A9A9), rose-pink and butter-yellow moth (#F2A7C3, #F3E2A0), ivory wax skin (#F3E6DA), milky haze (#EDE6DE), lilac-grey shadows (#9A91AE). Her hair is jet black (#0B0B0F), the only near-black value in the image. Camera: 100mm macro lens at her chest height, about 8 cm above the dollhouse floor. Sharp focus on her face and hands. The back wall falls slightly soft, but every frame, the moth and the flames stay readable. Fine film grain. Crisp powder grains on the nearest surfaces. Exclude: Image 1's dark palette and gloom, the sparkle watermark in its lower-right corner, any black other than her hair, plague doctors, masks, skulls, blood, cracks in her face or the wood, glowing eyes, cobwebs, glitter, snow, snowflakes, sparkles, colour filters, cartoon or kawaii faces, childlike doll proportions, lettering, logos.