Marmurowa łazienka
Jasna łazienka premium jako świat sesji: marmur, kafel, chrom i duże lustro oddają światło, więc kadr jest wysokim kluczem z trzymanymi refleksami. Lustro pracuje jako element kompozycji, satyna pokazuje, jak układa się w świetle odbitym, a produkt zostaje czytelny w każdym kadrze.
Przenieś kolekcję do jasnej marmurowej łazienki, w której światło nie gaśnie, tylko wraca — od kamienia, kafla, chromu i szkła. Satyna pokazuje wtedy to, czego nie pokaże na bezszwowym tle: jak fałda oddaje światło. Lustro podwaja plan i buduje kadr, para osiada na szkle, a produkt zostaje jasny i czytelny w każdym ujęciu.
Galeria
Najlepsze do
Najlepszy dla bielizny, szlafroków, kompletów satynowych i loungewear w rejestrze świeżym i mineralnym — karta produktu, lookbook, kampania sezonowa i cross-sell kosmetyczny, gdzie łazienka premium jest naturalnym kontekstem zakupowym. Szczególnie dobrze wypada przy tkaninach, które odbijają światło (satyna, jedwab, błyszczący splot) oraz przy koronkach i wykończeniach, którym pomaga jasne światło z każdej strony.
Wymagania wejściowe
Wgraj packshot tej strony produktu, którą chcesz pokazać — sesja fotografuje jedną stronę (przód ALBO tył); komplet przód + tył to dwa wsady. Modelka jest wymagana; karnację, budowę i charakter skóry ustawiasz w modelce, styl ich nie nadpisuje. Sceneria nie jest potrzebna: preset ma własną, zdefiniowaną łazienkę premium. Jeśli podpinasz scenerię, podepnij JEDNĄ jasną scenerię łazienkową albo wnętrzarską na całą sesję — to ona poprowadzi wtedy miejsce, a styl dołoży swoje światło, kadr i kompozycję.
Wytyczne jakościowe
## Quality guidelines ### Style core A bright, mineral interior register for lingerie, robes and satin-weave garments photographed inside ONE premium bathroom — polished pale marble, large-format tile, chrome fittings, a wide mirror and glass carrying condensation. This is the library's only hard, reflective interior: every other interior register is soft and habitable, built of textile and wood that absorb light, while this room returns it. One broad daylight source is multiplied by stone, tile, chrome and glass until the whole frame reads high-key and fresh, with every highlight held. The mirror is a compositional plane, not decoration: it doubles the room and gives the frame a second, receding plane. The register is composed, fresh and product-first — a garment presented inside a recognizable premium bathroom, not a warm boudoir, not a night suite, not a romantic bright bedroom and not a bathing scene. Freshness comes from how much light the room gives back and from mineral, cool-neutral colour — never from expression amplitude, styling narrative or a heavy grade. - Commerciality level: mix of `catalog` and `lookbook` — product-first and sellable, but carried inside one recognizable world rather than on a neutral plane - Dominant character: bright, mineral, cool-neutral, reflective, architectural, composed, fresh - Image priority: the product leads every frame; the room's returned light and its doubling geometry carry the world; expression stays composed and supportive - Directional references: contemporary bathroom interiors in stone and chrome photographed in daylight; robe and lingerie lookbooks shot in a hotel bathroom; product-page photography for skincare and cosmetics adjacencies, where a bright mineral room is the selling context - Style-anchoring words: bright reflective bathroom, pale marble and chrome, mirror as architecture, held mineral highlights, fresh and composed, product-first ### Product role in frame The product (lingerie / robe / satin-weave loungewear) is the hero on the body and the reason the frame exists. What this room adds that a seamless cannot is material behaviour: a satin weave reports the room back to the camera, so its drape reads as a moving gradient of returned light along every fold rather than a flat patch of colour, and lace, trims and elastic edges catch a bright rim from the stone and tile around them. That gradient is what sells the fabric, so it must be held — the highlights along a fold keep their internal drawing and stay inside the file's range. The hardest readability case in this register is a close-toned frame: ivory, pearl, blush, white or nude fabric against the pale stone field AND against skin. The light and the grade must preserve both edges — the outline of every strap, band, cup, lapel, belt, seam and hem stays visible against the background and against the body; the garment never dissolves into the marble and never dissolves into the skin. Everything the room contains stays passive around it: towels, vessels and fittings never enter the readable zone of the product. When the input shows the back of the garment, the back is the readable hero and the model is posed from behind. - Product role: hero on the body — the garment leads as the readable subject; the room, its light and its reflections amplify, never bury it - Visibility level: fully readable in the clear majority of frames, with a minority where a sleeve, a turn or a foreground element of the room partially obscures it, plus a material / construction detail layer - What the style exposes: how satin and other returning weaves report light along the drape, how a robe's lapel, belt and sleeve fall, lace pattern and trims, straps, bands, cups, seams, closures and hems, fabric tension on the body - Separation on close tones: when the garment's hue sits close to the pale stone or to the skin, the directional key and the neutral-cool grade keep every edge readable — against the background and against the body - Acceptable obscuring: minor — a sleeve, a turn or a near element of the room may cover part of the garment in a minority of frames if cut and construction still read; never unreadable in the core of the pack - Product presentation character: fresh, precise and considered — presented, worn and legible, never staged as a bathing act - The garment always sits in the bright zone of the room; condensation and steam live in the depth of the room and on its surfaces, never across the product ### Light Default light — applied when no scenery is linked, or when the linked scenery does not name a directional light, a time of day or weather: ONE broad daylight source — a large frosted-glass bathroom window — entering from one side at ~55° azimuth off the camera–model axis, on the camera side, its centre just above the model's eye line (the azimuth is measured from the camera–subject axis, not from the walls; the source sits above the eyes, never a low uplight). The room's hard, polished surfaces — marble wall and vanity, large-format tile, chrome fittings, the glass enclosure and the mirror — return that light from every direction, so the fill is the room itself and the shadows stay bright, open and faintly cool. Discipline — always, whatever the light source: one dominant directional source multiplied by hard-surface bounce, giving a high-key frame with held highlights — the specular hits on chrome, polished stone, beaded tile and glass keep their internal drawing and stay inside the file's range; shadows stay bright and open, coloured by the room's own bounce; contrast medium-low; exactly one white balance per frame, following the resolved light source (the preset's neutral-cool value applies only when the preset's default light is the source). This returned-light character applies on top of whichever source is resolved — a linked scenery may set WHERE the light comes from, the preset keeps the bright, surface-multiplied CHARACTER. Brightness here never means the loss of direction. The key stays readable: the shadow side of the body and the shadow side of every fold remain identifiable, and the stone's veining, the tile's grain, the beading on chrome and the weave of the fabric all keep a drawn micro-shadow. The frame is bright because the room gives light back, not because the light has been flattened into a sourceless wash. - Source type: daylight through one large frosted-glass window by default; a qualifying scenery may resolve another interior source. Always one dominant directional source - Default source direction: one window at ~55° azimuth off the camera–model axis, on the camera side, its centre just above the model's eye line — applied when no scenery is linked, or when the linked scenery does not name a directional light, a time of day or weather - Hardness: soft to medium-soft at the source; the shadow edge is gentle and the transition wide, because the room refills it from every surface - Light-to-shadow contrast: medium-low (discipline — high-key with an identifiable shadow side), never a flat sourceless wash and never a graphic cut - Role of fill: the room itself — diffuse and specular bounce off marble, tile, chrome, glass and the mirror; no second key competes with the dominant source - Falloff: shallow by design — this room refills its own depth, so the far side of the bathroom stays bright; the depth reads through geometry and reflections, not through darkness - Shadow quality: bright, open, faintly cool — grounding and modeling, never dramatic - Highlight discipline: every specular hit keeps its internal drawing; the marble field, chrome and ivory fabric hold their detail and never clip to paper white - Color temperature: neutral to faintly cool; the preset's neutral-cool white balance applies only when the preset's default light is the source; otherwise white balance follows the resolved light source (accurate skin tones) - White balance count: exactly one per frame; visible fixtures in the room never introduce a second, competing cast - What the light should model: the returning drape of the fabric and the garment's construction first, then the body's volume, then the relief of the room's own surfaces — veining, grout lines, beading, brushed metal - Light discipline (always, whatever the source): one dominant directional source multiplied by hard-surface bounce; high-key with held highlights; bright open shadows; medium-low contrast; one white balance per frame ### Color and tonality Mineral, cool-neutral, bright tonality whose first duty is the fidelity of the garment's own hue and whose second is the separation of pale fabric from pale stone. The default background (used only when no scenery is linked) is the room's dominant surface field — the pale marble and tile — locked to ONE value: sRGB #DCE3E7 ≈ CIELAB L* 90 / a* -2 / b* -3, a bright, faintly cool mineral grey with soft grey veining, clearly NOT pure white, NOT a warm sand or beige stone, NOT a mid-grey studio plane and NOT a saturated blue. Whites bright and neutral-cool; blacks honest but light — this register has almost no deep black, and a dark garment keeps its internal detail rather than closing up. Saturation natural and true; contrast medium-low; exposure high-key with every highlight held. No creative grade, no film character, no tint: the tonality is mineral and quiet so the product's colour is exact. - Palette: mineral and restrained — pale stone and tile, the neutral specular of chrome, white textiles, real skin, and the product's true hue as the only strong colour in the frame - Background tone (default, closed axis): sRGB #DCE3E7 ≈ CIELAB L* 90 / a* -2 / b* -3 — one single value for the room's marble and tile field, never a family, never a range, never drifting toward warm beige, pure white or saturated blue between frames; used only when no scenery is linked - White balance: neutral to faintly cool; follows the resolved light source; the preset's neutral-cool value applies only when the preset's default light is the source; the grade never recolours a linked scenery - Saturation: natural, true-to-product; nothing muted, nothing pushed - Contrast: medium-low — bright, mineral, evenly readable - Exposure: high-key — mid-tones lifted toward the pale stone, and every highlight held: no clipped white on the marble field, on chrome or on ivory satin - Highlights character: bright, held, with internal drawing on every specular hit - Shadows character: bright, open, faintly cool from the room's own bounce - Blacks: honest but light; a dark garment keeps its internal detail and never closes into a hole in this bright room - Whites: bright and neutral-cool; a white or ivory garment separates from the #DCE3E7 stone through the contact of light and the drawn edge, never by recolouring the background - Overall tonal character: contemporary, mineral, cool-neutral, bright interior - Faithfulness of the product's own hue takes precedence over the grade; the grade never recolours a linked scenery ### Lens and perspective feel One pinned focal length: **~85mm in feel, for the whole session** — a single value, written identically on EVERY frame, never a range. Two reasons hold this pin. A stateless pack drifts facial geometry the moment the focal moves, and an interior description pulls a loose focal toward a wide, real-estate view of the room — a bathroom, being the smallest room in the flat, pulls hardest of all. A wider length is NOT the answer to a tight room: no wide framing to fit a pose, no bent tile lines, no elongated limbs at the frame edge. Full-length frames are taken along the room's long axis, from the doorway, or through the mirror. A wider length (down to ~50mm in feel) is allowed ONLY when the idea explicitly calls for a full-length hero showing the bathroom as a whole — never as a per-frame default. Aperture / depth of field is a closed axis resolved once for the whole session: ONE moderately deep value (~f/8 in feel). This is load-bearing rather than cosmetic — the reflected plane sits optically far behind the surface of the mirror, so a shallow aperture would smear the doubled plane into an unreadable blur and destroy the one device this preset is built on. At ~f/8 the model and her reflection stay legible in the same frame, the stone's veining and the tile's grid keep their drawing, and the fabric's weave stays readable. Focal length and aperture are never sourced from the scenery. Camera at eye level as the base; the room's own geometry supplies the drama, so angles stay modest. - Focal length: PIN ~85mm in feel — one single value for the entire session, no ranges (never write "50–85mm in feel"); a wider length (down to ~50mm in feel) ONLY when the idea explicitly calls for a full-length hero showing the whole room, never as a per-frame default; never taken from the scenery - Aperture / depth of field: ONE moderately deep value (~f/8 in feel) for the whole session, held identical across every frame, so the reflected plane and the room's surfaces stay legible; never sourced from the scenery - Camera distance: medium — the room's long axis, the doorway or the mirror gives the distance for full-length frames; closer for construction and material detail - Perspective: eye level as the standing rule; a slight low angle where the room's vertical lines support it, a gentle high angle as an accent — modest, never a fashion device that bends the room - Sharpness character: as a real lens renders it in a bright room — precise across the garment, neither clinical nor soft - Gear character: a full-frame camera with a short-portrait prime lens, available window light returned by the room's surfaces - Aspect ratio: no rigid requirement; the prompter picks (product pages and lookbooks usually 2:3 / 4:5, social 4:5 / 9:16); the format should hold the figure with a workable amount of the room around it ### Composition language Composed, architectural framing built on the room's own geometry: the rectangle of the mirror, the horizontal of the vanity, the grid of the tile, the vertical edge of the glass enclosure, the seam where marble meets floor. Those lines are compositional tools and they stay geometrically true — verticals vertical, grout lines straight, the room's perspective physically believable. Two to three planes: an optional near plane taken from the room itself (the edge of the vanity, the frame of the glass enclosure, a condensation band on glass) as a passive foreground, the figure, and the depth of the room behind. The mirror is the signature device and it is used deliberately, never incidentally. A mirror frame is composed on purpose: the figure and her reflection carried together as two planes, the reflection alone with the real body turned away or cropped, or the mirror returning the light and the room behind the camera as a second field of pale stone. The reflection must agree with physics — the same garment, the same body, the same light, the handedness of the pose correct, the reflected geometry consistent with where the camera stands. The camera position is always a photographer's position, outside the model's own reach; no phone, camera, tripod or self-directed framing gesture appears in the frame or inside the reflection. When a reflection cannot be composed correctly, the frame is built without it. - Frame type: leads with 3/4-length / American frames and portrait / bust frames (the garment zone plus composed expression); full silhouette a supporting share along the room's long axis or through the mirror; a construction / material detail layer for satin drape, lace, belts, straps and seams - Object placement: centered or deliberately offset against the room's architecture, always with clear geometric intent (golden ratio / rule of thirds) - Architectural discipline: verticals stay vertical, tile and grout lines stay straight, the room's perspective stays physically believable - Mirror discipline: every reflection is deliberate, physically correct and compositional — a second plane, never an accident and never a self-portrait act - Background hygiene: the area behind the head and shoulders stays clear of intersecting objects and lines — no fitting, bottle, towel rail or frame edge growing out of the head, and no horizontal of the room cutting the body at a joint; the same hygiene applies inside the reflection - Negative space: moderate — bright planes of stone and tile give the frame air; a minority of frames leave a clean stone plane for a headline or logo - Symmetry: welcome where the room's own architecture supplies it (the mirror's axis, the basin's centre line); otherwise controlled asymmetry - Open / closed composition: mixed, leaning closed and body-led; the doubled plane of the mirror is what opens a frame without loosening it - Number of planes: two to three — an optional near plane from the room, the figure, the depth of the room or its reflection - Separation from background: the drawn edge of the garment plus the tonal step between fabric, skin and the pale stone field; never a rim-light effect, never background recolouring - Overall composition character: architectural, orderly, mirror-aware, product-first ### Pose language Posing is composed, upright and architectural — the model stands, leans and braces against the hard architecture of the bathroom rather than reclining into soft furniture. The register is semi-static with quiet, believable transitions: a step into the window light, a turn toward the mirror, weight settling onto one leg, a shoulder against the tiled wall, fingertips resting on the marble edge of the vanity. Contact with the room is STRUCTURAL — a support and a counterforce that holds a composed line — never a domestic or bathing action: nothing is used, run, applied or washed. Garment-related gestures are part of the language and stay quiet and legible: a hand settling the belt or lapel of a robe, a sleeve falling back along the forearm, a strap adjusted at the shoulder — each chosen so the readable zone of the product stays clear. Expression is calm, fresh and self-possessed: composed, at ease, adult — never a worked fashion attitude, never played-up glamour, never sweetness performed to the camera. The gaze may meet the camera calmly, travel toward the window light or the depth of the room, or rest on the model's own reflection — the last is a compositional look at the doubled plane, not a self-regarding pose. - Expression: calm, fresh, composed, self-possessed; reads whenever the face is visible; never worked, never coy, never dramatic - Pose dynamics: semi-static with quiet transitions — set stances plus a step, a turn, or a settling weight shift - Body openness: open and honest — the body squared or gently angled so the loaded side of the garment reads fully - Line tension: moderate and natural — an upright, held posture; the room's geometry carries the graphic tension, not an elongated editorial line - Posing character: composed and architectural — camera-aware but product-serving - Contact with the room: structural — the marble edge of the vanity, a tiled wall, a doorframe, the frame of the glass enclosure; the contact holds a line, it never tells a domestic story - Eye contact: mixed — a calm direct gaze, a look toward the window or into the room's depth, or a composed look at the reflection - Spontaneity level: directed with a natural finish — every stance is set, small honest adjustments keep it from reading stiff - Body-to-product relationship: the body serves the product; stance, hands and hair are chosen so the garment reads first ### Movement and physics The style is still and physically honest. Indoors there is no wind: nothing lifts, billows or flies. Motion, when present, is the quiet indoor kind — a step across the tile, a turn toward the mirror, a robe's hem settling after the step, a sleeve sliding back along the forearm. The frame is frozen and sharp; motion blur is not a tool here and never touches the product. Water is a static state of the room, never an action on the body: condensation beads and runs slowly on glass and chrome, a fogged band sits on the shower enclosure, a thin veil of steam drifts in the depth of the room — nothing is splashed, poured or run over the model. Hard surfaces do not give. Where a hand, hip or shoulder braces against marble or tile, the stone takes the load without deforming, and it is the body that shows the contact — the fingertips flatten slightly, the weight visibly transfers. Satin behaves under real gravity: it falls in long, heavy folds, slides against itself, and takes the light along each fold; a tie holds where it is knotted; a hem hangs true. Hair sits naturally and stays clear of the garment's readable zones; hair movement as a pose cue is available as a minority accent, not a device. - Static vs movement: still, with quiet indoor transitions (a step, a turn, a settling hem) - Frozen vs blur: fully frozen and sharp; no motion blur, least of all on the product - Hair/body: natural, settled, kept clear of the garment's readable zones; a hair cue as a minority accent - Contact physics: load-bearing and believable — a hard, unyielding surface, a body that visibly takes the support - Elements: indoor-only and static — condensation on glass and chrome, a slow veil of steam in the room's depth; never water in action on the body ### Relation to scenery The style's world is ONE premium bathroom, and that world is the preset's own default — a locked anchor, not a family of bathrooms. The default set: honed and polished pale marble on the wall and vanity top with soft grey veining, large-format pale tile on the floor, a wide frameless mirror above a wall-hung basin, brushed and polished chrome fittings, a glass shower enclosure carrying a band of condensation, folded white towels and a single stone or ceramic vessel on the vanity, and one large frosted-glass window as the light source. The surface tone of that stone and tile field is the value locked in `Color and tonality`: sRGB #DCE3E7 ≈ CIELAB L* 90 / a* -2 / b* -3. The room reads as a real, used bathroom kept in order — physically present, hard, reflective — not a showroom display and not a spa set. What varies between frames is only WHICH elements of this one room enter the frame: the mirror wall, the vanity run, the tiled corner, the glass enclosure, the window wall. The type of space, the time of day, the character and temperature of the light and the surface tone never change inside a pack. When a scenery is linked it owns the location and backdrop, and the preset's bright returned-light discipline, camera pins, grade discipline and composition language apply on top; the scenery never supplies focal length, aperture / DoF, render character or grade. One space per pack — no jumping between rooms, bathrooms or times of day. - Relationship to space: an enclosed, hard, reflective interior — stone, tile, chrome, glass and a mirror; intimate to human in scale, a room and never a hall - Scene depth: two to three planes, carried by architecture and reflection rather than by darkness; the room refills its own depth, so depth reads through geometry - Background activity: supporting and non-narrative — the room's surfaces and their texture are welcome and visible; its objects stay passive - Space scale: intimate to human — one bathroom, never a spa hall or a lobby - Default world (closed axis): the ONE premium bathroom described above, with its stone and tile field at sRGB #DCE3E7 ≈ CIELAB L* 90 / a* -2 / b* -3 — used when no scenery is linked; open axis is only which of its elements enter a given frame - The attached scenery owns the location and backdrop when linked; the preset's light discipline, camera pins, grade and composition language still apply on top of the resolved source ### Props and styling behavior The style adds no objects of its own. Everything physically present belongs to the room — folded white towels, a single stone or ceramic vessel, the chrome fittings, the glass of the enclosure — and stays passive: architecture and surface, never a narrative prop the model uses. Nothing is applied, poured, brushed or washed; the room is a place the garment is photographed in, not an activity the model performs. Accessories on the model are optional and minimal — a delicate piece of jewelry at most, in a minority of frames — and they are a SESSION styling layer, not part of the base model identity (accessories baked into the model return in every frame and break the register). Bare feet are native to this room and are the quiet default. - Objects in the room: supplied by the world (or by the linked scenery), passive, never used narratively by the model - Accessories: optional and minimal — a delicate piece of jewelry in a minority of frames - Accessories = session styling layer, not the model's identity — the model is a separate, clean input (frequency is set in Quantity) - Footwear: bare feet as the native default - Hair, make-up and skin come from the card; the preset only asserts non-override (it does not smooth, restyle or beautify them) - Role of props: passive — a towel or vessel may sit in the frame as part of the room, never become its subject and never enter the garment's readable zone - Avoid (Prompter instruction — formulate final values positively): cosmetic bottles and clutter crowding the vanity, a running shower or bath in use, an object held and used by the model, spa dressing, anything that turns the bathroom into a narrative scene competing with the garment ### Post-production and finish Finish bright, mineral and exact — the image should read as a precisely executed photograph taken in a real, light-filled bathroom. Grain none to very fine: the target is a crisp digital file with at most a barely perceptible texture. Clarity medium-high, the micro-contrast a real lens gives, so the fabric's weave, the lace, the seams and the stone's veining all read; the room's brightness is exposure and bounce, not a tone-mapped lift. Vignette none — this room is evenly bright to its edges because it returns light from every surface. Retouch minimal: natural texture and features preserved. The word satin in this preset names a FABRIC — the product's own weave and drape — and never a finish of skin. Moisture in this preset belongs to the room's surfaces: glass, tile, chrome and the mirror's edge carry condensation and beading; the model's skin never carries a wet, beaded or otherwise re-finished appearance. The preset does not specify the model's skin, make-up or hair; it only requires that the render not smooth away or override the skin realism and identity supplied by the Mannequin input. - Grain: none to very fine — a crisp digital target - Texture: as recorded — the stone's veining, the tile's grain, the beading on chrome and the fabric's weave all stay visible - Clarity: medium-high, as a real lens records it — enough for lace, seams, trims and weave to read fully - Vignette: none — the room is evenly bright to its edges - Retouch: minimal — light cleanup only, never at the cost of fabric or skin texture - Skin: the preset does not specify the model's skin, make-up or hair; it only requires that the render not smooth away or override the skin realism and identity supplied by the Mannequin input - Moisture: a state of the room's surfaces only — condensation and beading on glass, tile and chrome; never a state or finish applied to skin - Satin: a fabric of the product, never a description of skin - Overall finish: bright, mineral, exact, product-ready - Avoid (Prompter instruction — formulate final values positively): clipped white on the marble field or on ivory fabric, a tone-mapped or advertising-style sharpen, a sourceless bright wash with no shadow side, any resolution or quality token ### Style render properties - Render character: true-to-life photographic rendering. The frame must read as a real photograph taken with a real camera in a real bathroom — a full-frame camera, a short-portrait prime lens, available window light returned by the room's hard surfaces. Carry this into `Rendering_Style` as its own value — `True-to-life photographic rendering.` — and resolve it identically on every frame of the session. The register (bright mineral bathroom, lookbook, product page) belongs in `Session_Concept` and `Output_Goal`; `Rendering_Style` carries ONLY the photographic character, never a genre label, never a quality or fidelity adjective. - The world is ONE premium bathroom, identical across the pack: polished pale marble wall and vanity with soft grey veining, large-format pale tile, a wide frameless mirror over a wall-hung basin, chrome fittings, a glass shower enclosure with a band of condensation, folded white towels and a single stone vessel, one large frosted-glass window. Which of these elements enter a given frame may vary; the room, its time of day and its character never do. When a scenery is linked, the scenery owns the location. - The default surface field of that room (used only when no scenery is linked) reads as ONE pale, faintly cool mineral stone tone — sRGB #DCE3E7 ≈ CIELAB L* 90 / a* -2 / b* -3 — with soft grey veining; never pure white, never a warm sand or beige stone, never a mid-grey studio plane, never a saturated blue, and never a different value between frames. - Light must read as ONE dominant broad daylight source multiplied by the room's hard surfaces — by default one frosted-glass window at ~55° azimuth off the camera–model axis, on the camera side, its centre just above the eye line, with marble, tile, chrome, glass and the mirror returning it as the only fill. The result is high-key with held highlights: every specular hit on chrome, stone, beaded tile and glass keeps its internal drawing; shadows stay bright, open and faintly cool; contrast medium-low; one white balance per frame. The shadow side of the body and of every fold stays identifiable — brightness comes from returned light, never from erasing direction. This discipline applies on top of whichever light source is resolved. - The mirror is architecture, not a self-portrait device. Every reflection is deliberate, physically correct and compositional — the same garment, the same body, the same light, the handedness of the pose correct and the reflected geometry consistent with where the camera stands. The camera always occupies a photographer's position outside the model's own reach; no phone, camera, tripod or self-directed framing gesture appears in the frame or inside the reflection. Where a correct reflection cannot be composed, the frame is built without one. - Condensation, beading and steam are states of the ROOM: they sit on the glass of the enclosure, on tile, on chrome and at the mirror's edge, and a thin veil of steam may drift in the depth of the room. They never appear as a state or finish of the model's skin, and they never veil the garment. - The preset does not specify the model's skin, make-up or hair; it only requires that the render not smooth away or override the skin realism and identity supplied by the Mannequin input. Satin in this preset names the product's fabric, never a finish of skin. - The product (lingerie / robe / satin-weave garment on the body) is the readable hero in the clear majority of frames — fit, drape, lace, trims, seams and closures must read, and the returning gradient of light along a satin fold is held rather than clipped. When the garment's hue sits close to the pale stone or to the skin (ivory, pearl, blush, nude, white), every edge of the garment stays visible against both; the garment never dissolves into the marble and never dissolves into the body. - Focal length is PINNED at ~85mm in feel and aperture at ~f/8 in feel for the whole session — one value each, never a range, never taken from the scenery — so facial geometry stays constant, the room stays a compressed interior rather than a wide real-estate view, and the reflected plane behind the mirror stays legible. - Interior geometry stays believable: marble edges, tile grout lines, the mirror's rectangle and the glass enclosure's frame stay straight, verticals stay vertical, and the space stays one room-sized bathroom. The area behind the head and shoulders stays clear of intersecting objects and lines, inside the reflection as well. - Pose reads composed, upright and architectural — standing, leaning and bracing against the hard surfaces of the room, with structural, load-bearing contact; the room is never used for a domestic or bathing action. Expression stays calm, fresh and self-possessed. - The garment stays in the bright zone of the room and stays worn and legible in every frame; the room's objects, its condensation and its steam stay outside the garment's readable zone. - Overall the image must feel like a real photograph of a garment worn in a bright, hard-surfaced bathroom of stone and chrome — mineral, fresh and precisely exposed — not a warm boudoir frame, not a night interior, not a soft romantic bedroom, not a spa or bathing scene and not a studio shot with a bathroom pasted behind it. ### Allowed variability Variability applies only to the open axes. What stays disciplined across frames is the preset's own DNA: the ONE locked bathroom and its #DCE3E7 stone field, the bright returned-light character with held highlights, the pinned ~85mm focal and ~f/8 aperture, the neutral-cool mineral grade, the mirror-as-architecture discipline, the moisture-on-surfaces-only rule and the product-readability floor. Everything below is open. - Which elements of the room enter the frame — the mirror wall, the vanity run, the tiled corner, the glass enclosure, the window wall — and whether one of them supplies a near plane. - Whether the mirror is in frame at all, and how a reflected plane is composed when it is (figure plus reflection, reflection alone with the body turned away, or the mirror returning the room as a second field of stone). - The exact stance, weight distribution, transition, structural contact point and quiet garment gesture may vary — as long as they keep the composed architectural register and the readable zone of the product clear. - Head and face angle may vary (frontal, three-quarter, profile), including frames read from behind when the loaded product side is the back. - Camera angle, height and position within the room may move: eye level as the base, a slight low or gentle high angle as an accent, and the camera may work from a different position or along a different axis of the same bathroom. - Frame / crop may move along the ladder (full silhouette ↔ 3/4-length ↔ bust/portrait ↔ construction detail) — always at the pinned ~85mm. - Gaze may alternate between a calm direct look, a look toward the window light or into the room's depth, a composed look at the reflection, and a downward glance. - How much condensation is visible, and on which surface, may vary within "present as a state of the room" — never spreading onto skin and never veiling the garment. - The construction / material detail layer may choose different points (satin drape along a fold, a lace edge, a belt or tie, a strap, a seam, a hem). - The presence of a delicate accessory may appear and disappear between frames (session layer, a small minority of the pack). - What may NOT vary: the room, the surface tone value, the light character and direction, the high key with held highlights, the focal length, the aperture, the mirror discipline, the moisture rule or the product-readability floor. ### Session-level consistency Across the whole pack these stay constant, because the Prompter is stateless: the same ONE premium bathroom (or the same one linked scenery) for the entire session, the same pale mineral surface field at sRGB #DCE3E7 ≈ CIELAB L* 90 / a* -2 / b* -3 whenever no scenery is linked, the same broad daylight source at ~55° azimuth with its centre just above the eye line multiplied by the room's hard-surface bounce, the same high key with held highlights and medium-low contrast, the same one white balance character, the same pinned ~85mm focal length and ~f/8 aperture on every frame, the same neutral-cool mineral grade, the same composed architectural pose register with its calm expression, the same minimal-retouch skin realism carried by the card, and the same product-readability floor. The mirror behaves the same way in every frame where it appears: deliberate, physically correct, free of any device or self-capture gesture. Condensation and steam stay a state of the room in every frame. The pack must read as one visit to one bathroom at one time of day — ten frames that could sit together in one lookbook without one of them betraying a different room, a different light or a different camera, and it must not mix this bright mineral register with warm boudoir, night-interior or soft romantic frames. ### Conflict resolution Default hierarchy, unchanged — this is a product-page and lookbook preset, and the default hierarchy IS its identity. The world is a signature, but it works underneath the product, not above it: 1. Product readability and fidelity: the garment worn and legible, its hue exact, fit, drape and construction readable, every edge holding against the pale stone and against close-toned skin, and the returning gradient along a satin fold held rather than clipped. 2. Realism and render believability: true-to-life photographic rendering, believable interior geometry and reflections, real skin from the card (non-override), true proportions at the pinned focal, load-bearing contact physics. 3. Consistency of the bright mineral world: one bathroom, one light source and direction, one surface tone, one grade, one focal length, one aperture across the pack — the series signature. 4. Any compositional or expressive accent — the mirror's doubling, the room's geometry, a stronger stance — permitted inside the margins left by 1–3. When a linked scenery's own space conflicts with the preset's default bathroom, the scenery wins the location (below product readability, render realism and model identity, which stay higher). The preset's default light and surface tone apply for sessions without a scenery, or when the linked scenery does not name a directional light, a time of day or weather; a qualifying scenery's light leads, and the preset's bright returned-light discipline always applies on top. The focal and aperture pins are never overridden by the scenery — only a per-batch Idea or suggestion may move them. If a reflection cannot be composed so that it is physically correct and deliberate, the frame is recomposed without the mirror — a wrong or accidental reflection is never accepted as a stylistic artefact. If condensation or steam would sit across the garment, the moisture gives way: it stays in the depth of the room and on the room's surfaces, and the product stays clear and bright. If holding the ~85mm anchor would leave a full-length frame unbuildable inside the room, the camera moves back along the room's long axis, works from the doorway or builds the full length through the mirror; the focal anchor does not bend on its own. The single exception is an idea that explicitly asks for a full-length hero showing the whole bathroom, which resolves to the ~50mm value — one concrete value, still never a range. If a pose or a composition would improve the frame at any cost to garment readability, readability wins.
Wytyczne ilościowe
## Quantity guidelines ### Session goal By default 10 images in the pack. Main use: product page (PDP) and category assets for lingerie, robes and satin-weave loungewear, brand lookbook, and cross-sell placements alongside skincare and cosmetics, where a bright, hard-surfaced bathroom is the natural selling context. The pack's goal is a coherent set shot inside ONE bright, hard-surfaced bathroom at one time of day: every frame product-usable, the fabric's behaviour in returned light visible, the mirror used deliberately in part of the pack, and the whole series readable as one session rather than ten separate attempts. The session photographs the one side of the product supplied in the input. ### Shot mix About 35% 3/4-length / American frame (the workhorse — the garment zone large in frame with the room's architecture still present), 25% portrait / bust (the upper garment plus composed expression, often against the mirror or the marble wall), 20% full silhouette (taken along the room's long axis, from the doorway or built through the mirror), 20% construction or material detail (satin drape along a fold, lace edge, belt or tie, strap, seam, hem). The detail share is larger than in a plain catalog pack because material behaviour in returned light is a reason this preset exists. Every frame at the pinned ~85mm. When the input shows the product's back, the same shot mix reads from behind (rear bust framing, 3/4-length back, full rear silhouette, back-construction detail) — and the mirror becomes especially useful there, since it can return the front of the figure as context while the loaded back stays to the lens. ### Perspective mix Product orientation = input, not preset. The input always shows one side of the product — the front or the back — and that loaded side dictates whether the model is posed facing the camera or with her back to it. The preset does NOT redistribute or assign this (no "X% front / Y% back"); it takes the orientation from the input and only varies the camera angle and height within it. The distribution concerns the camera setup with the loaded side kept to the lens: about 35% straight on (camera frontal to the loaded side — readable fit), 30% a slight 3/4 camera swing (the loaded side still readable), 15% closer to profile (as far as the loaded side stays visible — useful along the vanity run), 10% a slight low angle where the room's verticals support it, 10% a gentle high angle as an accent. Angles stay modest: they must not deform proportions, bend the room's tile lines or verticals, rotate the silhouette so the loaded product side disappears, or kill fit readability. The direction of the light stays constant regardless of the camera setup — the window does not move between frames — and when the camera works with the mirror, the reflected plane is composed deliberately rather than caught by accident. ### Gaze distribution About 30% calm direct gaze to camera (composed presence, non-worked), 45% off-camera toward the window light or into the depth of the room, 15% toward the model's own reflection in the mirror (a compositional look at the doubled plane, not a self-regarding pose), 10% downward or along the body line. Every gaze stays quiet and adult. This applies to frames where the face is visible; in detail frames the face may fall outside the crop. ### Interaction distribution About 35% composed presence in the room with no contact (the body holds its line in the bathroom's space), 35% structural contact with the room's hard architecture (fingertips or a hand on the marble vanity edge, a shoulder against the tiled wall, a lean into the doorframe or the frame of the glass enclosure, standing into the window light), 20% a quiet garment gesture (settling a robe's belt or lapel, a sleeve falling back, a strap adjusted at the shoulder) that never covers the garment's readable zone, 10% working consciously with the mirror plane (turned toward the reflection, composing the figure against its doubled geometry). Contact is a strong axis here because the hard room is what this preset has and a soft interior does not — but it always stays structural support for a composed line, never a domestic or bathing action. ### Product visibility distribution About 45% garment fully readable on the body (the sales floor of this preset — the entire loaded side legible at a glance), 25% garment on the body with the room's architecture or its reflection leading the frame (still readable), 10% minor partial obscuring from a sleeve, a turn or a near element of the room, 20% material or construction detail (a satin fold, a lace edge, a belt, a strap, a seam, a hem filling the frame). Full readability stays a hard floor across roughly 45% of frames, and neither the room, the reflection nor the condensation ever pushes the product below it. ### Composition openness distribution About 40% open and breathing compositions (a bright plane of stone or tile as air, or the mirror's doubled plane opening the frame), 60% closed, body-led frames where the figure and the garment fill the frame inside the room's geometry. A short-portrait length in a small room naturally closes the frame; the open share is deliberate and is what keeps the pack from feeling cramped. ### Safe vs expressive ratio About 60% safe (readable, sellable, product-page-grade fit inside the bright room), 30% expressive (the mirror-doubled frames, the strongest architectural compositions, the material-behaviour close frames — still fully within the composed register), 10% copy-ready (a clean plane of pale stone or tile reserved for a headline, badge or logo). Expression in this preset means composition and material, never pose amplitude or drama. ### Spatial and depth mix About 40% the figure against one plane of the room (a marble wall or a tiled plane, separation by the drawn edge and the tonal step), 35% embedded in the room with layered depth (a near plane from the room's architecture — the vanity edge, the frame of the glass enclosure, a condensation band on glass — then the figure, then the room's depth), 25% mirror-doubled frames where the reflection supplies the second plane. The room's depth is always bright: this style reads depth through geometry and reflection rather than through darkness, and the far side of the bathroom never falls into shadow. ### Recurring motifs or accessories frequency The recurring motif is the room itself and the way it returns light: pale marble and tile, chrome, glass and the bright high-key exposure with held highlights — present in 10/10 frames. The large mirror is in frame in about 6/10 and carries a deliberately composed reflection in about 4/10. Condensation as a state of the room — a fogged band on the glass enclosure, beading on chrome or tile, a thin veil of steam in the room's depth — reads in about 4/10, and never on skin. The returning gradient of light along a satin or otherwise reflective weave reads in about 5/10 (product-dependent — it is the fabric's behaviour, not an added effect). Structural contact with a hard surface of the room in about 4/10. Folded white towels or the single stone vessel appear as passive room elements in about 3/10. A delicate accessory in at most 1–2/10 (session styling layer, never baked into the model identity). No props are held or used in any frame. ### Energy mix About 45% calm (still, composed, quiet — the register's home), 25% quietly sensual (body awareness and warmth held inside a composed, adult frame — never played up), 20% lightly active (a step into the light, a turn toward the mirror, a robe settling after a transition), 10% stronger (a composed anchor frame built on the mirror's or the room's geometry). Nothing in the pack rises to campaign drama; the strength of this preset is its bright, mineral evenness.
Wskazówki dla użytkownika
Wybierz modelkę. Wgraj packshot jednej strony produktu. Zostaw sesję bez scenerii, jeśli chcesz gotową łazienkę tego stylu — albo podepnij jedną jasną scenerię łazienkową na całą paczkę. Generuj 8–10 zdjęć naraz.
Rób
Uruchamiaj bez scenerii — jasna łazienka premium jest częścią stylu i jest zdefiniowana. Wybieraj fasony z tkanin, które odbijają światło: satyna i jedwab zyskują tu najwięcej. Pozwól, by lustro pracowało jako kompozycja — część kadrów świadomie prowadzi odbicie. Na komplet przód + tył zrób dwa wsady, po jednej sesji na stronę. Konkretną pozę albo kadr wpisz w sugestiach sesji; sugestie są nadrzędne nad stylem. Generuj 8–10 zdjęć naraz.
Nie rób
Nie oczekuj miękkiego, mieszkalnego wnętrza — to twarde, odbijające powierzchnie i chłodno-neutralna, jasna tonalność; na ciepłą sypialnię i buduar są inne style. Nie oczekuj rejestru selfie: lustro jest tu architekturą kadru, w kadrze nie ma telefonu ani ujęcia „z ręki". Nie licz na mokrą skórę ani scenę kąpieli — wilgoć i para żyją na szkle, kaflu i chromie, a produkt jest noszony i czytelny. Nie mieszaj kilku łazienek ani pór dnia w jednej paczce. Nie generuj bez modelki.
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