Royal Blue Streetwear Seated Portrait

LOCKED MASTER PROMPT — SEATED FULL-BODY STREETWEAR EDITORIAL ON ROYAL BLUE
ROLE
You are a world-class fashion campaign photographer working on a seamless coloured cyclorama with one large soft frontal source, and a stylist who lets one saturated colour own the frame.
Create a premium, photorealistic full-body editorial portrait using the ATTACHED REFERENCE IMAGE as the identity source.
The defining idea of this image: one blue. A royal-blue seamless backdrop and floor, a deep-blue textured knit polo that nearly disappears into it, faded grey jeans and grey-white sneakers as the only other tones. The subject sits low on a thin black metal chair, leaning forward, legs extended toward the camera, one hand in a pocket, meeting the lens with a level, unhurried gaze. Soft frontal light, subtle shadow, crisp detail. Bold, contemporary, calm.
The output must look like a real studio photograph captured on a high-end full-frame camera — NOT like an AI-generated image, a 3D render, a catalogue cut-out on a colour, or a stock "fashion" pose.
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, or idealize the subject.
The subject's sex, gender presentation, age, ethnicity, skin tone, build, height and body proportions are whatever the reference shows. Nothing in this prompt overrides the reference on any of these. The wardrobe and the pose are a styling choice applied to whoever the reference shows — they do not imply, require or alter the subject's gender.
Preserve exactly:
	•	Facial geometry and skull proportions
	•	Face shape and width-to-height ratio
	•	Forehead height and hairline shape
	•	Brow ridge projection
	•	Eyebrow shape, thickness, density and spacing
	•	Eye shape, size, spacing, eyelid structure, iris colour and under-eye character
	•	Nose bridge, tip and nostril structure
	•	Cheekbone height and projection
	•	Jawline definition and angle
	•	Chin shape and projection
	•	Lip shape, thickness and proportions
	•	Ear size, shape, position and attachment
	•	Natural facial asymmetry
	•	Skin tone and undertone
	•	Natural skin texture, pores, lines and surface irregularity
	•	Neck, shoulder width, torso, arm and leg proportions — the seated body is the reference's body
	•	Hand size, finger length and knuckle structure — the visible hand and forearm
	•	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, curl or wave pattern, texture, hairline, parting, colour and any greying. Do NOT shorten, lengthen, restyle, straighten or curl it.
FACIAL HAIR — CONDITIONAL
Facial hair appears only if the reference shows it. If present, preserve its exact length, density, colour and cheek line. If absent, add none.
BODY IS IDENTITY
The garments are cut to the reference's build. Do NOT lengthen the legs, broaden the shoulders, slim the waist or otherwise "model-ise" the body. The pose adapts to the reference's proportions; the proportions do not adapt to the pose.
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
Low — at approximately the seated subject's mid-chest height, roughly 15–25 degrees below the seated eye line. The lens axis is horizontal or angled very slightly upward, no more than 5 degrees. This is what makes the extended legs and sneakers read large and near, and the head sit high and small.
Subject orientation
	•	The torso is rotated approximately 10–20 degrees toward one side
	•	The head turns back toward the lens: rotated no more than 8 degrees
	•	Lateral head tilt approximately 3–6 degrees
	•	Chin lowered approximately 4–8 degrees — the head dips slightly as the torso leans forward, so the gaze comes level or fractionally down the nose toward the low camera
Do NOT shoot from eye level or above — the legs must foreshorten toward the lens. Do NOT drop the camera to floor level. Do NOT tilt the camera (no dutch angle). Do NOT turn the head into a three-quarter or profile position. Do NOT raise the chin. Do NOT introduce wide-angle distortion on the face — perspective belongs to the legs, not the head.

3. FRAMING LOCK — CRITICAL
Use a full-body framing, seated, from above the head to below the sneakers.
Show:
	•	The whole head with the full hair silhouette and generous space above it
	•	The full torso in the polo
	•	Both arms — one forearm resting on a thigh, one hand in a pocket
	•	Both legs in the jeans, extended forward, the near leg reaching toward the lower left of the frame
	•	Both sneakers, fully inside the frame
	•	The chair: its seat edge beneath the subject, its thin black legs and part of its back visible beside and behind the body
	•	The blue floor beneath the feet and the blue backdrop behind — continuous, seamless
The head (top of hair to chin) occupies approximately 10–13% of the total frame height. The eye line sits approximately 16–19% down from the top of the frame. The chin sits at approximately 24–27% down from the top. The chair seat sits at approximately 55–62% down from the top. The nearest sneaker's toe reaches approximately 94–99% down from the top. The full figure spans approximately 70–85% of the frame width at the widest point, the extended legs.
HEADROOM LOCK
Leave approximately 12–16% of the total frame height as blue above the top of the hair. 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 either sneaker. Do NOT crop the pocketed hand's wrist or the resting forearm. Do NOT tighten into a waist-up or three-quarter-length composition. Do NOT pull back so far that the figure becomes small in an empty field.

4. SUBJECT POSITION
The torso and head sit right of centre, the head at approximately 56–63% of frame width. The extended near leg travels down and to the left, its sneaker landing at approximately 38–50% of frame width near the bottom edge. The far leg extends more directly toward the camera, its sneaker at approximately 55–68% of frame width, higher and slightly behind the near one. The composition is a diagonal: head upper-right, near foot lower-left, the body's mass sweeping between them.
Do NOT centre the figure symmetrically. Do NOT place the head on the left. Do NOT let both legs point straight at the camera in parallel. Do NOT leave the lower-left of the frame empty.

5. POSE & SEATING LOCK — CRITICAL
THE CHAIR
The subject sits on a thin black metal chair — see Section 8 — with weight settled back on the seat.
THE LEAN
	•	The torso leans slightly forward, approximately 10–15 degrees from vertical, the spine relaxed rather than rigid
	•	Shoulders relaxed, down, slightly rounded by the lean — not squared, not braced
THE LEGS — EXTENDED
	•	Both legs extended forward toward the camera, knees only slightly bent — approximately 20–35 degrees of bend at the knee
	•	Legs open, spread comfortably apart — approximately shoulder-width or wider at the knees
	•	The near leg (on the head's opposite side) extends further and lower, reaching down toward the lower-left of the frame, its heel on the floor and its toe angled up or outward
	•	The far leg extends more directly at the camera, its sneaker planted flat or nearly flat on the floor
	•	The jeans fall loose over both legs, with soft folds at the knees and pooling at the ankles
THE ARMS
	•	One forearm rests along the top of the thigh on its own side — the arm on the head's side — the elbow near the hip, the hand hanging relaxed beyond the knee, fingers soft, no grip
	•	The other hand is in the front jeans pocket on its own side, the arm hanging naturally, the elbow slightly out, the wrist visible at the pocket's edge
OVERALL
The read is relaxed, grounded, unbothered — a person who sat down and stayed.
Do NOT sit upright, perched or rigid. Do NOT cross the legs, tuck them under the chair or pull the knees together. Do NOT extend both legs identically and symmetrically. Do NOT place both hands in pockets or both forearms on the thighs. Do NOT let the resting hand grip the knee, point or gesture. Do NOT fold or cross the arms, or bring a hand to the face. Do NOT lean back against the chair's back. Do NOT render a stiff, symmetrical, formal seated posture.

6. GAZE & EXPRESSION
The subject looks directly into the lens, with a steady, level gaze down toward the low camera. Both eyes fully open and clearly readable, each carrying a single soft, broad catchlight from the large frontal source, high and central.
Expression:
	•	Calm, direct, unhurried
	•	Neutral to faintly serious — a level look that neither invites nor challenges
	•	Brow relaxed and level
	•	Lips closed and relaxed, neutral
	•	Jaw relaxed
Do NOT smile or show teeth. 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 LOCK — CRITICAL
Every garment is cut to the reference person's build.
Polo — deep blue textured knit
	•	A short-sleeve knitted polo in deep royal blue — approximately #1A3BAE to #2247C2, a step deeper and marginally darker than the backdrop, so the shirt reads as a tonal shape against the blue, distinct but not contrasting
	•	An open, flat knitted collar — a soft camp or johnny collar — lying open at the neck with a V-opening and no buttons, the collar points relaxed
	•	A tonal jacquard texture across the body: a fine, all-over raised pattern — a wavy or cable-like vertical rhythm in the same blue, reading as surface relief, not as a printed motif
	•	Ribbed cuffs on the short sleeves, ending at mid-bicep, and a ribbed hem
	•	Relaxed fit through the chest, hanging loose over the waistband
Jeans — loose faded grey
	•	Loose, straight-to-wide-leg jeans in faded grey — a washed, light grey-blue denim, approximately #8A8F99 to #9DA3AD, with visible fade at the thighs and knees and faint whiskering at the hips
	•	Mid-to-low rise, sitting relaxed at the hips beneath the polo hem
	•	Loose through the thigh, straight through the leg, pooling softly at the ankles over the sneakers
	•	A front pocket on each side — one holding the hand
	•	Visible denim twill and seam stitching; no rips, no patches, no logos
Sneakers — grey-white
	•	Chunky low-top sneakers in grey-white — an off-white upper with light grey panels and a white or pale grey sole, lightly worn
	•	Laced, simple, no visible branding, no bright colour accents
	•	The near sneaker large in the frame and slightly angled; the far sneaker flat
Do NOT use a black, white, green, red or patterned polo — it is deep blue. Do NOT match the polo exactly to the backdrop, or contrast it strongly — it sits a step deeper. Do NOT use a buttoned placket, a woven cotton polo or a t-shirt. Do NOT use dark, black, raw or slim jeans. Do NOT use shorts, trousers, joggers or any bottom other than loose faded grey jeans. Do NOT use black, bright-white, coloured, high-top or branded sneakers. Do NOT add a jacket, overshirt, hat, belt, bag, watch, chain, ring or accessory unless present in the identity reference.

8. CHAIR LOCK
A thin black metal chair, minimal, industrial.
	•	A simple stacking or café chair: slender round or square-section black steel legs and frame
	•	A low, plain backrest — a single thin bar or a narrow panel — visible beside and behind the torso
	•	A flat or slightly dished seat, black
	•	Matte to satin black finish; no colour, no cushion, no wood, no visible branding
The chair is a support, not a subject: it shows as thin dark lines around the body — the seat edge beneath the thighs, two or three legs, a hint of back.
Do NOT render a wooden, upholstered, plastic, coloured, folding, office, armchair or stool. Do NOT render a chair with arms. Do NOT let the chair's back rise above the shoulders or dominate the frame. Do NOT hide the chair entirely — its legs and seat edge must read. Do NOT render a second chair or any other furniture.

9. BACKGROUND & FLOOR LOCK — ROYAL BLUE CYCLORAMA — CRITICAL
A solid, saturated royal-blue seamless backdrop and floor — one continuous surface.
	•	Colour: saturated royal blue, approximately #1E3FB8 to #2A4CC8 — clean, vivid, cool-leaning, not navy, not cobalt-purple, not cyan
	•	The backdrop sweeps down into the floor as a seamless cyclorama; there is no visible horizon, corner, seam or floor line — the wall and the floor are one colour and one surface
	•	Tone is even across the frame, with only the faintest natural falloff toward the upper corners and the far distance — no gradient, no vignette, no hotspot
	•	Surface: matte, smooth, paper or painted — no texture, no creases, no footprints, no scuffs
The subject's soft shadow falls on the floor beneath and slightly behind the chair and legs — see Section 10 — and is the only tonal event on the blue.
NO objects, props, set elements or a second chair. NO visible horizon line, wall-floor seam, corner or cyclorama edge. NO gradient, spotlight, hotspot or vignette on the blue. NO texture, creases, marks, tape or footprints. NO visible studio equipment, stands, cables or the edge of the seamless. NO text, typography, logos, watermarks, borders or graphic elements. NO second figure or a second shadow.

10. LIGHTING LOCK — SOFT DIFFUSED FRONTAL — CRITICAL
One large, soft, diffused frontal source with the blue set providing fill.
KEY
A very large soft source — a 2 m octabox, a large scrim or a diffusion panel — positioned near-frontal, approximately 10–20 degrees to one side of the lens axis and 20–30 degrees above the seated eye level, angled down.
It produces:
	•	Broad, even, flattering illumination across the face, arms, polo and jeans with gentle modelling — a soft turn on the far cheek, a shallow shadow under the nose and the chin
	•	Clean, low-contrast rendering of the polo's jacquard relief and the denim's twill
	•	A soft, subtle shadow cast by the body and chair onto the blue floor: behind and beneath the subject, short, diffuse-edged, a modest darkening of the blue by roughly 0.7–1.2 stops — present, quiet, physically believable
	•	One soft, broad catchlight in each eye, high and central
FILL
The blue backdrop and floor bounce blue light back into the shadows — key-to-fill approximately 2.5:1 to 3.5:1. Shadows are open and faintly cool.
SEPARATION
None added. The figure separates from the blue by tone — skin, grey denim and grey-white sneakers against the blue; the polo by its deeper blue and its texture.
Do NOT use a hard source or sharp shadows. Do NOT use dramatic, side, split or chiaroscuro lighting. Do NOT use a ring light. Do NOT add a rim, hair, kicker or background light. Do NOT eliminate the floor shadow — it grounds the subject. Do NOT let the floor shadow become hard, long or dark. Do NOT create a hotspot or a lit pool on the backdrop.

11. 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 body.
The identity changes. The lighting does NOT change. Key position, size, height, fill ratio and shadow behaviour stay fixed. Only the way the light falls across the individual's specific anatomy varies.

12. EXPOSURE & TONAL BALANCE LOCK
A bright, clean, saturated mid-key image.
Approximate distribution of the frame:
	•	Royal-blue backdrop and floor: 50–62%
	•	Deep-blue polo: 10–15%
	•	Grey jeans: 14–20%
	•	Skin — face, neck, arms, hand: 6–10%
	•	Grey-white sneakers: 3–6%
	•	Black chair: 1–3%
	•	Floor shadow: 3–6%
Behavior:
	•	The face is correctly exposed in the mid-tones with a full, smooth tonal range and no clipped highlights
	•	The blue is fully saturated and evenly exposed — vivid, not dark, not pastel
	•	The polo sits a step deeper than the backdrop and reads as a distinct tonal shape
	•	The jeans are the brightest large area, held well below clipping with twill visible
	•	The sneakers are the brightest small elements, off-white, not pure white
	•	The chair is near-black, thin, legible
	•	The floor shadow is a gentle darkening of the blue, never black
Do NOT overexpose the face, the jeans or the sneakers. Do NOT desaturate or darken the blue. Do NOT let the polo vanish into the backdrop, or pop against it. Do NOT crush the chair or the shadow to black. Do NOT push into contrast or drama.

13. CAMERA LOOK — 50mm, f/4
Campaign photography on a full-frame system.
Focal length: 50mm. Aperture: f/4 — moderate depth of field: the figure sharp from the near sneaker to the head, the backdrop sharp enough to read as a clean surface, gently soft at distance.
Focus:
	•	Critical focus on the eyes
	•	The face, hair, polo texture, denim twill, the resting hand and the pocketed wrist all sharp
	•	The near sneaker, closest to the lens, marginally softer than the face but clearly resolved
	•	The chair sharp
	•	The backdrop smooth, with no structure to resolve
PERSPECTIVE
The 50mm at close range with a low camera produces mild, natural foreshortening on the extended legs: the near sneaker reads noticeably larger than the far one, the legs converge toward the hips. The head, further away, stays naturally proportioned.
Do NOT use a telephoto that flattens the legs' foreshortening. Do NOT use a wide-angle that distorts the face or balloons the near foot. Do NOT use shallow depth of field that softens the legs or sneakers. Do NOT render visible bokeh shapes. Do NOT introduce lens flare, chromatic aberration or a vignette.

14. IMAGE QUALITY
Photorealistic, crisp sharpness across the figure. Ultra-detailed natural skin with visible pores on the face and fine texture on the arms and hand. Individually resolvable hair strands and curls, the hairline rendered accurately. Facial hair, where the reference shows it, as discrete hairs with visible skin beneath. The polo's jacquard relief rendered as real knit — raised pattern, yarn texture, ribbed cuffs and collar with visible stitch structure. The denim's twill weave, fade and seam stitching rendered as real fabric, with soft, physically correct folds at the knees and ankles. The sneakers' materials — textile, synthetic, rubber sole — with light, believable wear. The chair's steel with a clean matte edge. The floor shadow soft-edged and tonally correct on the blue. Correct anatomy throughout: natural joint angles at hips, knees, elbows and wrists; a hand with five correctly proportioned fingers; feet correctly oriented inside the sneakers. Natural highlight roll-off; very fine, clean grain.
No plastic, waxy or airbrushed skin. No skin smoothing or blemish removal. No excessive sharpening or edge halos. No artificial HDR appearance. No beauty-filter effect. No CGI, 3D-render or video-game surface quality. No cut-out edge, keying artefact or halo between the figure and the blue.

15. COLOUR GRADING
A bold, clean, colour-accurate campaign grade built on one blue.
Palette:
	•	Backdrop and floor: saturated royal blue — the dominant colour
	•	Polo: deep royal blue, a step deeper — tonal
	•	Jeans: faded grey-blue, low saturation
	•	Sneakers: grey-white, neutral
	•	Chair: neutral black
	•	Skin: natural and colour-accurate to the reference — the blue bounce may cool the shadow side faintly, but the skin keeps its own hue and warmth in the light
	•	Hair: the reference's own colour
Tonal structure:
	•	Strong saturation in the blues; neutral, accurate rendering of everything else
	•	Moderate contrast, open shadows, clean highlights
	•	Neutral white balance on the key — whites are white, skin is skin, the blue is the blue
Do NOT tint the skin blue, or push it orange to fight the blue. Do NOT shift the royal blue toward navy, purple, cyan or teal. Do NOT desaturate the blue or the polo. Do NOT apply a teal-orange, filmic, vintage or cinematic cast. Do NOT introduce any second accent colour. Do NOT lift or crush the blacks. Do NOT allow banding across the blue field.

16. VISUAL HIERARCHY
Eyes → Face → The tonal polo against the blue → The diagonal of the extended legs → The near sneaker → The resting hand and the pocketed wrist → The thin black chair → The blue
The face is the anchor at the top of the diagonal; the near sneaker is its counterweight at the bottom. The polo is the quiet trick — a blue on a blue. The chair is a line; the blue is the world.

17. NON-NEGOTIABLE RULES
These must NEVER change between generations:
	•	Identity, sex, gender presentation, age, skin tone, build, height, proportions and skin texture from the reference; wardrobe and pose applied to whoever the reference shows.
	•	Hair and facial hair from the reference; facial hair only if present.
	•	Body proportions from the reference — never lengthened, broadened or slimmed.
	•	Camera low, at the seated subject's mid-chest height, 15–25 degrees below the eye line; lens horizontal to 5 degrees up.
	•	Torso rotated 10–20 degrees; head within 8 degrees; chin lowered 4–8 degrees; head tilted 3–6 degrees.
	•	Direct eye contact; calm, level, closed-mouth expression; no smile.
	•	Full-body seated framing from above the head to below both sneakers.
	•	Head 10–13% of frame height; eye line at 16–19% from the top; 12–16% headroom.
	•	Head right of centre at 56–63% of frame width; near sneaker lower-left at 38–50%.
	•	Seated on a thin black metal chair, leaning forward 10–15 degrees.
	•	Both legs extended toward the camera, open, knees bent 20–35 degrees; near leg further and lower.
	•	One forearm resting along a thigh, hand relaxed past the knee; the other hand in a front jeans pocket.
	•	Deep-blue textured knit polo, open flat collar with a V, ribbed cuffs, a step deeper than the backdrop.
	•	Loose faded grey straight-to-wide jeans pooling at the ankles.
	•	Grey-white chunky low-top sneakers, unbranded.
	•	No accessories unless in the reference.
	•	Thin black metal chair, no arms, back below the shoulders, legs and seat edge visible.
	•	Saturated royal-blue seamless backdrop and floor, no horizon, no seam, no gradient.
	•	One large soft near-frontal key at 10–20 degrees off axis, 20–30 degrees above the seated eye line.
	•	Key-to-fill 2.5:1–3.5:1; a soft, short, subtle floor shadow behind and beneath the subject.
	•	No rim, hair, kicker or background light; no hard shadows.
	•	Face, jeans and sneakers correctly exposed; the blue vivid and even; the polo tonal.
	•	50mm at f/4; figure sharp front to back; mild natural foreshortening on the legs.
	•	Visible pores, knit relief, denim twill; correct anatomy throughout.
	•	Colour-accurate skin; no cast; no second accent colour.
	•	No text, logos, watermarks, props, second chair or second figure.
	•	2:3 vertical aspect ratio.

18. REFERENCE PRIORITY SYSTEM
PRIORITY 1 — IDENTITY
Face, hair, facial hair, skin tone, skin texture, build, height, proportions, hands, age, sex, gender presentation and natural likeness from the reference.
PRIORITY 2 — POSE AND CAMERA
The seated forward lean, the extended open legs, the resting forearm and pocketed hand, and the low camera that foreshortens the legs.
PRIORITY 3 — WARDROBE
The deep-blue textured polo, faded grey jeans and grey-white sneakers, cut to the reference build.
PRIORITY 4 — SET
The royal-blue seamless cyclorama and the thin black metal chair.
PRIORITY 5 — LIGHTING
The single large soft frontal source, the fill ratio and the subtle floor shadow.
PRIORITY 6 — COMPOSITION, GRADE AND CAMERA
The diagonal full-body framing, the bold colour-accurate grade and the 50mm f/4 look.
If the reference image conflicts with any of these instructions, preserve identity, anatomy, proportions, hair, facial hair, skin texture and natural likeness from the reference, and preserve pose, camera, wardrobe, set, lighting, composition, grade and lens specification from this prompt.

19. NEGATIVE CONSTRAINTS
Identity and body errors
Do NOT generate:
	•	A change in the subject's sex, gender presentation, age, ethnicity, skin tone, build or height from the reference
	•	A generic "model" face or body imposed over the reference
	•	Lengthened legs, broadened shoulders, a slimmed waist or any "model-ised" proportion
	•	A restyled, shortened, lengthened, straightened or curled hairstyle
	•	Added or removed facial hair
	•	An aged, de-aged, beautified, slimmed or widened face
	•	Extra, missing, fused or bent-backward fingers
	•	A hand scaled wrongly relative to the body
	•	Impossible joint angles at hips, knees, elbows or wrists
	•	Feet misoriented inside the sneakers
Pose and seating errors
Do NOT generate:
	•	An upright, perched, rigid or formal seated posture
	•	A lean back against the chair
	•	Crossed, tucked or closed legs
	•	Both legs extended identically and symmetrically
	•	Both hands in pockets, or both forearms on thighs
	•	A hand gripping the knee, pointing or gesturing
	•	Folded or crossed arms, or a hand at the face
	•	A standing, kneeling, squatting or floor-sitting subject
	•	A pose that ignores the reference's proportions
Camera and framing errors
Do NOT generate:
	•	An eye-level or high camera
	•	A floor-level camera
	•	A dutch or tilted angle
	•	A waist-up or three-quarter-length crop
	•	A figure small in an empty field
	•	A cropped head, sneaker, hand or forearm
	•	A symmetrically centred figure
	•	The head on the left
	•	Both legs pointing at the camera in parallel
	•	An empty lower-left of the frame
	•	Wide-angle distortion on the face
	•	Telephoto flattening of the legs
	•	Shallow depth of field softening the legs or sneakers
	•	Visible bokeh; lens flare; chromatic aberration; a vignette
Wardrobe errors
Do NOT generate:
	•	A black, white, green, red, patterned or printed polo
	•	A polo matching the backdrop exactly, or contrasting strongly with it
	•	A buttoned placket, a woven cotton polo or a t-shirt
	•	A smooth, texture-less polo without the jacquard relief
	•	Dark, black, raw, slim or ripped jeans
	•	Shorts, trousers, joggers or any other bottom
	•	Black, bright-white, coloured, high-top or branded sneakers
	•	A jacket, overshirt, hat, belt, bag, watch, chain, ring or accessory not in the reference
	•	Visible logos or branding anywhere
Chair and set errors
Do NOT generate:
	•	A wooden, upholstered, plastic, coloured, folding, office, armchair or stool
	•	A chair with arms
	•	A chair back rising above the shoulders or dominating the frame
	•	A hidden chair with no visible legs or seat edge
	•	A second chair or any furniture or prop
	•	A navy, purple, cyan, teal or pastel backdrop
	•	A visible horizon, wall-floor seam, corner or cyclorama edge
	•	A gradient, spotlight, hotspot or vignette on the blue
	•	Texture, creases, marks, tape or footprints on the seamless
	•	Visible studio equipment or the edge of the backdrop
	•	A second figure or a second shadow
Lighting, exposure and grade errors
Do NOT generate:
	•	A hard source or sharp shadows
	•	Dramatic, side, split or chiaroscuro lighting
	•	Ring-light illumination
	•	A rim, hair, kicker or background light
	•	A missing floor shadow, or a hard, long or dark one
	•	An overexposed face, jeans or sneakers
	•	A desaturated, darkened or pastel blue
	•	A crushed chair or shadow
	•	High contrast or drama
	•	Blue-tinted skin, or skin pushed orange to fight the blue
	•	Royal blue shifted toward navy, purple, cyan or teal
	•	A teal-orange, filmic, vintage or cinematic cast
	•	Any second accent colour
	•	Lifted or crushed blacks
	•	Banding across the blue
Rendering errors
Do NOT generate:
	•	Plastic, waxy or airbrushed skin
	•	Beauty-filter smoothing or blemish removal
	•	Facial hair as a flat mask
	•	Hair rendered as a smooth mass without curl and strand structure
	•	Knit rendered as flat colour without relief
	•	Denim rendered as smooth fabric without twill
	•	A cut-out edge, keying artefact or halo between figure and blue
	•	Over-sharpened edges or halos
	•	Artificial HDR appearance
	•	Heavy noise or grain
	•	Asymmetrical or misaligned eyes caused by generation error
	•	Mismatched, missing or duplicated catchlights
	•	Deformed ears; distorted teeth
	•	CGI, 3D render or video-game look
	•	Illustration, painting or stylized rendering
	•	Text, typography, logos, watermarks, borders or frames

FINAL INSTRUCTION
Create the image as if the same photographer, same royal-blue cyclorama, same thin black metal chair, same large soft frontal source, same camera, same 50mm lens at f/4 from the same low position, same deep-blue knit polo, faded grey jeans and grey-white sneakers, same forward-leaning extended-leg pose and same bold colour-accurate grade photographed a completely different person — whoever the reference shows — sitting down in the same chair.
Only the identity of the subject should change. The clothes fit whoever wears them; the chair holds whoever sits.
The result must belong to a single, consistent campaign series — not a set of unrelated AI generations.
IDENTITY CHANGES. EVERYTHING ELSE STAYS LOCKED.

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