Monochrome Turtleneck Portrait in a Modern Interior

# LOCKED MASTER PROMPT — MONOCHROME TURTLENECK PORTRAIT IN A MODERN INTERIOR

## ROLE

You are a world-class environmental portrait photographer working in available window light inside refined modern architecture, with a fast apochromatic short telephoto and a black-and-white sensibility built on black, graphite and grey.

Create a premium, photorealistic monochrome portrait using the **ATTACHED REFERENCE IMAGE as the identity source**.

The defining idea of this image: **discipline made visible.** The subject stands perfectly upright in a quiet, minimal modern interior, in a black turtleneck and thin-rimmed glasses, lit by one soft directional light that reveals the structure and texture of the face. Nothing moves. Nothing decorates. Every line — of the posture, the garment, the room — is precise.

The output must look like a real photograph captured on a high-end full-frame mirrorless camera with an apochromatic 90mm lens — NOT like an AI-generated image, a 3D render, a stock "professional" portrait, or a desaturated colour photo.

Aspect ratio: **2:3 vertical.**

---

# 1. IDENTITY LOCK — ABSOLUTE PRIORITY

Use the person from the **ATTACHED REFERENCE IMAGE**. Preserve identity with maximum fidelity. DO NOT redesign, beautify, reinterpret, slim, widen, age, de-age, sharpen or idealize the subject.

**The subject's sex, gender presentation, age, ethnicity, skin tone, build and facial structure are whatever the reference shows. Nothing in this prompt overrides the reference on any of these. The turtleneck, the glasses and the posture are a styling choice applied to whoever the reference shows — they do not imply, require or alter the subject's gender, age or profession. "Sophistication" and "discipline" are produced by light, posture and stillness, not by a particular kind of face.**

Preserve exactly:

- Facial geometry and skull proportions
- Face shape and width-to-height ratio
- Forehead height and hairline shape, including any temple recession
- Brow ridge projection
- Eyebrow shape, thickness, density and spacing
- Eye shape, size, spacing, eyelid structure and under-eye character; iris rendered at its true tonal value in monochrome
- Nose bridge, tip and nostril structure — **the profile line the reference has, neither sharpened nor softened**
- Cheekbone height and projection — **as the reference shows, not chiselled**
- Jawline definition and angle — **as the reference shows, not squared**
- Chin shape and projection
- Lip shape, thickness and proportions
- Ear size, shape, position and attachment
- Natural facial asymmetry
- Skin tone value — how light or dark the skin renders in monochrome
- Natural skin texture, pores, lines, blemishes and surface irregularity — exactly as many as the reference has
- Neck thickness and shoulder width
- Apparent age
- Any moles, scars or distinguishing marks

The subject must remain unmistakably the same individual as the reference.

### HAIR — CONDITIONAL

Preserve the reference hairstyle exactly: the same length, volume, hairline, texture, parting and any greying. It may be neatly presented, not restyled. Do NOT add or remove grey.

### FACIAL HAIR — CONDITIONAL

Facial hair appears **only if the reference shows it**. If present, preserve its exact length, density, greying and cheek line. If absent, add none.

### GLASSES — FROM THIS PROMPT

The thin-rimmed glasses in Section 7 are a locked styling element worn by every subject in the series, regardless of whether the reference wears glasses. If the reference wears different glasses, replace them with the specified frames. The frames sit on the reference's own nose and ears without altering their shape.

### SKIN VALUE NOTE

When converting the reference skin tone to monochrome, preserve its **relative luminance**. A darker-skinned reference renders as a darker mid-tone, a lighter-skinned reference as a lighter mid-tone. Do NOT normalize every subject to the same grey value.

### STRUCTURE IS NOT A STYLE

Do NOT add definition, angularity, hollowing or "sharpness" the reference does not have in order to make the face look more architectural. The light reveals the structure the reference has; it does not manufacture one.

**IMPORTANT:** Identity is determined ONLY from the attached reference image. Do not borrow facial characteristics from any celebrity, model, example image, or visual reference.

---

# 2. CAMERA POSITION & ORIENTATION LOCK

### Camera

Eye level, within **3 degrees** above or below the subject's eye line. The lens axis is horizontal.

### Subject orientation

- The torso is rotated approximately **25–35 degrees** toward one side — a clear three-quarter stance
- The head turns back toward the lens: rotated approximately **10–18 degrees**, so the far side of the face is foreshortened and the near cheekbone, jaw and brow read as structure, while both eyes remain fully visible
- Lateral head tilt no more than **2 degrees** — the head is level
- Chin level, neither raised nor lowered

Do NOT use a low or high angle. Do NOT tilt the camera (no dutch angle). Do NOT square the head or the body flat to the lens. Do NOT turn the head past 18 degrees into a profile or hide the far eye. Do NOT tilt the head. Do NOT introduce wide-angle distortion.

---

# 3. FRAMING LOCK — CRITICAL

Use a **medium close-up**, from above the head to the mid-chest.

Show:

- The whole head with the full hair silhouette
- The full face, both eyes, the glasses
- The neck, entirely covered by the turtleneck's collar
- Both shoulders
- The upper chest, in the black turtleneck
- Enough of the interior behind to read as a refined modern room

The head (top of hair to chin) occupies approximately **40–46% of the total frame height**. The eye line sits approximately **36–41% down from the top of the frame**. The chin sits at approximately **62–67%** down from the top. The shoulders span approximately **65–78% of the frame width**.

### HEADROOM LOCK

Leave approximately **10–14% of the total frame height** above the top of the hair, filled by the interior. The head must be fully inside the frame and must NOT be clipped by the upper edge.

### CROP LOCK

Do NOT crop the top of the head. Do NOT crop the chin. Do NOT crop either shoulder — both shoulder points are inside the frame. Do NOT tighten into a face-only crop. Do NOT pull back into a waist-up or full-body composition.

---

# 4. SUBJECT POSITION

Place the head at approximately **44–50% of frame width**, marginally off-centre toward the side the body turns away from, so that the room's architectural line has space on the other side. The interior behind is composed so that one clean vertical element sits in the frame beside the head, never behind it.

Do NOT centre the head exactly. Do NOT push the head to a frame edge. Do NOT place an architectural line directly behind the head.

---

# 5. POSTURE LOCK — CRITICAL

**Perfect posture.** This is a defining element and must be exact.

- Standing, weight evenly on both feet
- Spine straight and tall; the head balanced directly over the shoulders, not forward
- Shoulders **back, down and level** — open chest, no rounding, no lift toward the ears
- Neck long, chin level
- Arms hanging straight and relaxed at the sides, hands out of frame below the crop
- Absolute stillness — no gesture, no shift, no lean

The read is **disciplined, contained, deliberate**.

Do NOT slouch, round the shoulders or push the head forward. Do NOT raise the shoulders or tense the neck. Do NOT lean, shift weight to one hip or angle the spine. Do NOT cross the arms, fold the hands, or bring a hand to the face, chin, glasses or pocket. Do NOT bring the hands or arms into the frame. Do NOT let the posture read as stiff or military — it is upright and at ease.

---

# 6. GAZE & EXPRESSION

The subject looks **directly into the lens**, with a steady, level, unbroken gaze through the lenses of the glasses. Both eyes are fully open and clearly readable behind clear glass, each carrying a single soft catchlight from the window light, high and toward the key side.

Expression:

- **Serious and composed**
- Still, exact, unhurried — the face of a person who has nothing to add
- Brow level and relaxed; a faint, almost imperceptible concentration between the eyebrows
- Lips closed and relaxed, neutral, with a slight firmness at the corners
- Jaw settled

Do NOT smile or show teeth. Do NOT produce a warm, friendly or approachable expression. Do NOT produce a scowl, squint, glare or theatrical intensity. Do NOT produce a seductive, smouldering or heavy-lidded look. Do NOT produce a blank, vacant or bored look. Do NOT direct the gaze away from the lens.

---

# 7. WARDROBE & EYEWEAR LOCK — CRITICAL

### Turtleneck

A **plain black turtleneck**, fitted to the reference person's build.

- Fine-gauge merino or cotton knit, matte, with a subtle visible rib or knit texture where the key light grazes the shoulder and the collar
- A **high, fully rolled collar** covering the neck completely, sitting close and smooth, its top edge just below the jaw
- Fitted through the shoulders and chest — close, not tight, not loose
- No logo, no pattern, no contrast trim, no zip, no visible seams beyond the collar fold

The turtleneck reads as **near-black, approximately 6–12% brightness**, defined by the faint texture on its lit edges and the clean line of the collar against the jaw.

### Glasses

**Thin-rimmed glasses** with clear lenses.

- A **slim metal frame** — round-to-softly-rectangular lens shape, moderate size, sitting just outside the eye sockets
- Rim thickness minimal — a fine line, not a statement frame
- Frame tone in monochrome: a mid-to-light grey with a fine specular edge — reading as silver, titanium or gunmetal
- Thin straight temple arms passing cleanly over the ears
- Lenses **clear and free of reflections across the eyes** — a small, soft window reflection at the outer edge of one lens is permissible; nothing obscures the pupils
- No visible brand, logo or text on the frame

Do NOT use a thick, chunky, acetate, tortoiseshell or coloured frame. Do NOT use sunglasses, tinted, mirrored or gradient lenses. Do NOT let lens reflections cover the eyes. Do NOT render a mock neck, crew neck, half-zip, shirt collar or any garment other than a full turtleneck. Do NOT use a grey, charcoal, navy or coloured turtleneck — it is black. Do NOT add a jacket, coat, blazer, scarf or layered garment. Do NOT add a watch, ring, chain, earrings, pin or any accessory unless present in the identity reference.

---

# 8. ENVIRONMENT LOCK — REFINED MODERN INTERIOR

A **minimal, refined modern interior**, rendered softly out of focus behind the subject.

### STRUCTURE

- A **plain wall** filling most of the background — smooth plaster, polished concrete or a matte panel — with no texture beyond its material's faint grain
- **One clean vertical architectural element** in the frame beside the head, on the side the body turns away from: the edge of a wall plane, a floor-to-ceiling slab, a column or a door reveal — a single straight line that gives the room its geometry
- Optionally, a faint horizontal line — a shadow gap, a ledge or the top edge of a low wall — well below the shoulders
- A sense of depth: the wall sits a few metres behind the subject, and the architectural element is at a different depth than the wall

### TONE

- In monochrome: the wall reads as a **mid-to-dark graphite grey, approximately 25–40% brightness**, darker than the face, lighter than the turtleneck
- Gentle gradation from the light source: marginally brighter on the key side, darker on the far side
- The vertical element reads a step lighter or darker than the wall — enough to register, never enough to compete

### CONTENT

- Nothing else — no furniture, no objects, no plants, no art, no lighting fixtures, no window in frame, no people

The room is **architecture as restraint**: plane, line, shadow.

Do NOT render a seamless studio backdrop, a curtain or a draped cloth. Do NOT render brick, wood grain, wallpaper, marble veining or any decorative surface. Do NOT render a window, door, fixture, picture, shelf, plant, desk, drawing, model or any object in frame. Do NOT render a busy, cluttered, ornate, classical or domestic interior. Do NOT place the vertical element behind the head. Do NOT bring the background into sharp focus. Do NOT let the wall approach the brightness of the face.

---

# 9. LIGHTING LOCK — SOFT DIRECTIONAL WINDOW LIGHT — CRITICAL

**One soft, directional indoor light** — a large window out of frame — with minimal fill.

### KEY — the window

A large, soft, diffused daylight source — a **tall window with sheer diffusion**, out of frame — positioned approximately **50–65 degrees** to one side of the lens axis, on the side the body turns toward, at roughly **head height to 20 degrees above**eye level.

It produces:

- A broad, soft wrap across the near side of the face — forehead, near cheekbone, near jaw
- A **clearly defined, soft-edged shadow** across the far side of the face — the far cheek, the far side of the nose, the far temple — with a visible nose shadow falling toward the far cheek
- **Sculpting**: the brow ridge, the cheekbone, the jaw and the line of the nose revealed by the transition from light to shadow — the structure the reference has, made legible
- Skin **texture** visible along the transition zone, where grazing light picks out pores and fine lines
- One soft catchlight in each eye, high and toward the key side
- A soft highlight on the near shoulder and the collar of the turtleneck, revealing the knit
- A faint specular along the near rim of the glasses

### FILL

Ambient bounce from the room only, at a key-to-fill ratio of approximately **4:1 to 5:1**. The far side of the face is dark but fully readable — eye, brow and skin texture preserved.

### SEPARATION

No rim, hair or kicker light. The subject separates from the graphite wall by tone: lit skin against the darker wall on the key side, the black turtleneck against the wall everywhere.

Do NOT use flat, on-axis or ring-light illumination. Do NOT use a hard, small source with sharp shadow edges. Do NOT lift the fill to erase the facial shadow. Do NOT crush the far side of the face into black. Do NOT add a rim, hair, kicker or background light. Do NOT let the window appear in frame. Do NOT light the wall separately or create a hotspot on it.

---

# 10. LIGHTING DIRECTION LOCK

The lighting setup must remain **identical across every generation**, regardless of changes in the reference person's gender, age, skin tone, hairstyle, or facial structure.

The identity changes. The **lighting does NOT change.** Window side, angle, height, softness and fill ratio stay fixed. Only the way the light falls across the individual's specific anatomy varies.

---

# 11. EXPOSURE & TONAL BALANCE LOCK — MONOCHROME

A **deep, controlled, low-to-mid-key monochrome image** built on black, graphite and grey.

Approximate tonal placement, from brightest to darkest:

- **Lit skin** — upper mid-tones, the brightest large area, placed by the reference's relative luminance
- **Catchlights and the glasses' specular** — pinpoint highlights, the only near-white values
- **Shadow side of the face** — lower mid-tones, readable
- **Wall, key side** — graphite, approximately **30–40%**
- **Wall, far side** — darker graphite, approximately **25–32%**
- **Hair** — per the reference, from mid-grey to near-black
- **Turtleneck** — near-black, approximately **6–12%**, with faint lit texture on the near shoulder and collar
- **Deepest shadows** — beneath the jaw at the collar, the far edge of the turtleneck — near-black

Approximate distribution of the frame:

- Graphite wall and architectural element: **40–50%**
- Black turtleneck: **22–30%**
- Face and hair: **20–28%**
- Highlights: under **2%**

Behavior:

- The face carries the fullest tonal range in the image
- The turtleneck is deep but not crushed — its collar edge and shoulder texture remain legible
- The wall sits clearly below the face and clearly above the turtleneck — three distinct planes of tone
- No pure white anywhere except the catchlights and the frame specular
- Blacks are deep and clean

Do NOT overexpose the face. Do NOT crush the turtleneck into a flat silhouette. Do NOT lift the wall toward the face's brightness. Do NOT flatten the image into a soft grey tonality. Do NOT push into harsh, clipped, crushed-black drama.

---

# 12. CAMERA LOOK — 90mm APOCHROMATIC

Available-light portraiture on a full-frame mirrorless system with a **90mm apochromatic lens**.

Focal length: **90mm**. Aperture: **f/2.0 to f/2.8** — shallow, with the whole face and the glasses inside the plane of focus.

Focus:

- Critical focus on the **near eye**, through the lens of the glasses
- Both eyes, brows, nose, lips, skin texture, hairline, facial hair and the glasses' rims fully sharp
- The far ear and far shoulder marginally softer
- The wall and the architectural element **softly out of focus** — their planes and lines readable, their edges gently dissolved

### RENDERING CHARACTER

- **Apochromatic**: no colour fringing (irrelevant in monochrome, but no edge artefacts), no halation, no glow — edges are clean and exact
- High micro-contrast on the in-focus plane: skin texture, knit texture and the fine rim of the glasses rendered with clinical clarity
- Smooth, even, undistracting out-of-focus rendering on the wall

Do NOT use very shallow depth of field that softens one eye or the glasses' rim. Do NOT stop down so far that the wall's surface becomes crisp. Do NOT render visible bokeh shapes. Do NOT introduce lens flare, halation, glow, chromatic edge artefacts or a heavy applied vignette.

---

# 13. IMAGE QUALITY

Photorealistic. Ultra-detailed natural skin with clearly visible pores across the forehead, nose and cheeks, most legible along the light-to-shadow transition. Fine facial texture — lines, subtle irregularity, a faint restrained sheen on the forehead and nose bridge — as the reference carries it. Individually resolvable hair strands, with the hairline and any greying rendered as individual lighter hairs. Facial hair, where the reference shows it, as discrete hairs with visible skin beneath. Knit texture on the turtleneck's lit shoulder and collar fold. The glasses: a clean, thin metal rim with a fine specular edge; clear lenses with correct, minimal refraction at the lens edges; temple arms resting correctly on the ears. Crisp architectural lines in the background, softened only by focus. Physically believable soft shadow falloff with a wide, gradual penumbra. Natural highlight roll-off. Very fine, clean grain — a modern high-resolution capture, not a film emulation.

No plastic, waxy or airbrushed skin. No skin smoothing or blemish removal. No added angularity, hollowing or sharpening of the face. No excessive sharpening or edge halos. No artificial HDR appearance. No beauty-filter effect. No CGI, 3D-render or video-game surface quality. No film-grain, dust, scratch or vintage emulation.

---

# 14. MONOCHROME GRADE LOCK

The image is **true black and white**, in a palette of **deep black, graphite and grey**.

Grade character: neutral, clean, modern — a slightly steep mid-tone curve for structure, deep clean blacks, a soft shoulder protecting the skin highlights, no toning.

Do NOT output a colour image. Do NOT output a partially desaturated or muted-colour image. Do NOT apply sepia, selenium, cyanotype, warm, cool or split toning. Do NOT apply selective colour or a colour accent anywhere. Do NOT lift the blacks into a faded, matte or filmic-crush look. Do NOT flatten the contrast into a soft grey tonality. Do NOT allow banding in the wall's gradation.

---

# 15. VISUAL HIERARCHY

**Near eye behind the glass → The light-to-shadow transition across the face → The thin rim of the glasses → The collar line against the jaw → The black turtleneck as a shape → The graphite wall and its single vertical line**

The face is the subject; its structure, revealed by one light, is the content. The glasses and the collar are the two precise lines that frame it. The room is a plane and an edge — nothing more.

---

# 16. NON-NEGOTIABLE RULES

These must NEVER change between generations:

1. Identity, sex, gender presentation, age, skin value, build and facial structure from the reference — neither sharpened nor softened.
2. Hair and facial hair from the reference; facial hair only if present; grey neither added nor removed.
3. Thin-rimmed clear-lens metal glasses from this prompt, worn by every subject.
4. True black-and-white output in black, graphite and grey; no toning.
5. Camera at eye level, within 3 degrees.
6. Torso rotated 25–35 degrees; head rotated 10–18 degrees back toward the lens; head level, chin level.
7. Both eyes fully visible.
8. Direct, level, unbroken eye contact through clear lenses.
9. Serious, composed, closed-mouth expression; no smile, no glare.
10. Perfect posture: spine tall, shoulders back, down and level, head over shoulders.
11. Arms at the sides, hands out of frame.
12. Medium close-up from above the head to mid-chest.
13. Head 40–46% of frame height; eye line at 36–41% from the top.
14. 10–14% headroom; head at 44–50% of frame width.
15. Plain black fitted turtleneck, collar fully rolled and covering the neck, 6–12% brightness.
16. No jacket, layer, accessory or jewellery unless in the reference.
17. Refined modern interior: plain graphite wall plus one clean vertical architectural element beside the head, never behind it.
18. Wall at 25–40% brightness; nothing else in the room.
19. One soft directional window light at 50–65 degrees off axis, on the side the body turns toward.
20. Key-to-fill 4:1 to 5:1; defined soft nose shadow; far side readable.
21. No rim, hair, kicker or background light; window out of frame.
22. Skin texture legible along the light-to-shadow transition.
23. Three distinct tonal planes: face above wall above turtleneck.
24. 90mm at f/2.0–f/2.8; both eyes and the glasses' rims sharp; wall softly out of focus.
25. Apochromatic rendering: clean edges, no halation, no glow, high micro-contrast in focus.
26. Very fine clean grain; no film emulation, no vintage artefacts.
27. No text, logos, watermarks, props, objects, second figures or windows in frame.
28. 2:3 vertical aspect ratio.

---

# 17. REFERENCE PRIORITY SYSTEM

### PRIORITY 1 — IDENTITY

Face, structure, hair, facial hair, skin value, skin texture, build, age, sex, gender presentation and natural likeness from the reference.

### PRIORITY 2 — LIGHTING

The single soft directional window light, its angle, its ratio and the sculpting transition it produces.

### PRIORITY 3 — POSTURE, ORIENTATION AND EXPRESSION

The perfect upright stance, the three-quarter body with the head turned back, and the composed direct gaze.

### PRIORITY 4 — WARDROBE AND EYEWEAR

The black turtleneck and the thin-rimmed glasses.

### PRIORITY 5 — ENVIRONMENT AND COMPOSITION

The graphite wall, the single vertical line, and the medium close-up framing.

### PRIORITY 6 — GRADE AND CAMERA

The black-graphite-grey monochrome grade and the 90mm apochromatic look.

If the reference image conflicts with any of these instructions, **preserve identity, anatomy, structure, hair, facial hair, skin value, build and natural likeness from the reference, and preserve lighting, posture, orientation, expression, wardrobe, eyewear, environment, composition, grade and camera specification from this prompt.**

---

# 18. NEGATIVE CONSTRAINTS

### Identity errors

Do NOT generate:

- A change in the subject's sex, gender presentation, age, ethnicity, skin value or build from the reference
- A generic "architect", "professional" or "sophisticated" face imposed over the reference
- A sharpened nose, chiselled cheekbones, squared jaw or hollowed face not in the reference
- Added or removed lines, wrinkles or texture
- A restyled, shortened or lengthened hairstyle; added or removed grey
- Added or removed facial hair
- An aged, de-aged, beautified, slimmed or widened face
- A normalized skin value that ignores the reference's relative luminance
- The reference's own glasses retained instead of the specified frames

### Posture, orientation and expression errors

Do NOT generate:

- A slouch, rounded shoulders or a forward head
- Raised shoulders or a tensed neck
- A lean, a hip shift or an angled spine
- Crossed arms, folded hands, or a hand at the face, chin, glasses or pocket
- Hands or arms inside the frame
- A stiff, military or mannequin posture
- A head or body squared flat to the lens
- A head turned past 18 degrees, a profile, or a hidden far eye
- A tilted head, a raised or lowered chin
- A smile or visible teeth
- A warm, friendly or approachable expression
- A scowl, squint, glare or theatrical intensity
- A seductive, smouldering or heavy-lidded look
- A blank, vacant or bored look
- A gaze away from the lens

### Wardrobe and eyewear errors

Do NOT generate:

- A mock neck, crew neck, half-zip, shirt collar or any garment other than a full turtleneck
- A grey, charcoal, navy or coloured turtleneck
- A loose, baggy, chunky-knit or patterned turtleneck
- A collar folded down, unrolled or exposing the neck
- A jacket, coat, blazer, scarf or layered garment
- A logo, pattern, contrast trim, zip or visible branding
- Thick, chunky, acetate, tortoiseshell or coloured glasses frames
- Sunglasses, tinted, mirrored or gradient lenses
- Lens reflections covering the eyes
- Glasses that float, sit crooked, or clip into the head
- Missing glasses
- A watch, ring, chain, earrings, pin or accessory not in the reference

### Environment errors

Do NOT generate:

- A seamless studio backdrop, curtain or draped cloth
- Brick, wood grain, wallpaper, marble veining or any decorative surface
- A window, door, fixture, picture, shelf, plant, desk, drawing, model or object in frame
- A busy, cluttered, ornate, classical or domestic interior
- A vertical element directly behind the head
- A background in sharp focus
- A wall as bright as the face
- A second person, a reflection or a shadow of a figure

### Composition and camera errors

Do NOT generate:

- A low, high, dutch or tilted angle
- A face-only, waist-up or full-body crop
- A cropped head, chin or shoulder
- A head centred exactly, or pushed to an edge
- Wide-angle distortion
- One eye or the glasses' rim out of focus
- A crisp, in-focus wall
- Visible bokeh shapes
- Lens flare, halation, glow, chromatic edge artefacts or a heavy vignette

### Lighting, tonal and grade errors

Do NOT generate:

- Flat, on-axis or ring-light illumination
- A hard, small source with sharp shadows
- Fill lifted to erase the nose shadow
- A far side of the face crushed to black
- A rim, hair, kicker or background light
- A window visible in frame
- A hotspot or spotlight on the wall
- An overexposed face
- A turtleneck crushed to a flat silhouette
- A wall lifted toward the face's brightness
- Soft, low-contrast grey tonality
- Harsh, clipped, crushed-black drama
- Any colour, tint, tone or colour accent
- Sepia, selenium, cyanotype, warm, cool or split toning
- Lifted, faded or matte blacks
- Banding in the wall gradation

### Rendering errors

Do NOT generate:

- Plastic, waxy or airbrushed skin
- Beauty-filter smoothing or blemish removal
- Facial hair as a flat mask; grey hair as a tint
- Film grain, dust, scratches, light leaks or vintage emulation
- Over-sharpened edges or halos
- Artificial HDR appearance
- Heavy digital noise
- Asymmetrical or misaligned eyes caused by generation error
- Mismatched, missing or duplicated catchlights
- Deformed ears; distorted teeth
- Melted or discontinuous hair
- Lens edges that warp the face behind them
- CGI, 3D render or video-game look
- Illustration, painting or stylized rendering

---

# FINAL INSTRUCTION

Create the image as if the **same photographer, same refined modern interior, same window at the same angle, same 90mm apochromatic lens at f/2–f/2.8, same black turtleneck, same thin-rimmed glasses, same perfect upright three-quarter stance, same composed direct gaze, same framing and same black-graphite-grey monochrome grade**photographed a completely different person — whoever the reference shows.

Only the **identity of the subject** should change.

The result must belong to a single, consistent environmental portrait series — not a set of unrelated AI generations.

**IDENTITY CHANGES. EVERYTHING ELSE STAYS LOCKED.**@Görsel oluştur

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