A sample prompt of what you can find in this page
Prompt by futurenobody2

from a distance only his face is clearly visible prompts

very few results

6 months ago

Wide cinematic shot, taken from behind, in a vast, sun-scorched desert. A dilapidated, rusted bus stop bench is positioned facing the horizon, with the camera directly behind the bench and the seated characters, creating a full rear-view composition. Seated on the bench are seven characters — ALL WITH THEIR BACKS TO THE CAMERA, facing forward, looking into the distance. NO FACES VISIBLE. NO EYE CONTACT. – A Muslim in traditional attire – An Orthodox Jew with a black coat and hat – A Catholic nun in full habit – A Sikh man with turban and beard – A Buddhist monk in saffron robes – A morbidly obese Superman, cape tattered, dragging in the dust – A tired executive in a suit, holding a briefcase loosely by his side All appear weary, slouched, fatigued, in a state of silent resignation. Above the bench is a weathered, cracked metal sign, rusted and peeling. The text on the sign clearly reads in faded, hand-painted letters: "Nobody has made it out alive." The desert around them is vast and empty, the ground cracked, sun-bleached, with long shadows stretching behind the figures. The mood is still, surreal, symbolic, and filled with existential weight. BACK VIEW ONLY. FULLY REAR-FACING COMPOSITION. CAMERA BEHIND BENCH AND ALL CHARACTERS. Shot with Cooke lenses, ARRI Alexa sensor, in 8K ultra-detailed resolution, high dynamic range, golden hour lighting, with dramatic shadows, subtle film grain. Color grading inspired by Denis Villeneuve and Roger Deakins, evoking themes of loneliness, time, and quiet endurance.

6 months ago

Wide cinematic shot, taken from behind, in a vast, sun-scorched desert. A dilapidated, rusted bus stop bench is positioned facing the horizon, with the camera directly behind the bench and the seated characters, creating a full rear-view composition. Seated on the bench are seven characters — ALL WITH THEIR BACKS TO THE CAMERA, facing forward, looking into the distance. NO FACES VISIBLE. NO EYE CONTACT. – A Muslim in traditional attire – An Orthodox Jew with a black coat and hat – A Catholic nun in full habit – A Sikh man with turban and beard – A Buddhist monk in saffron robes – A morbidly obese Superman, cape tattered, dragging in the dust – A tired executive in a suit, holding a briefcase loosely by his side All appear weary, slouched, fatigued, in a state of silent resignation. Above the bench is a weathered, cracked metal sign, rusted and peeling. The text on the sign clearly reads in faded, hand-painted letters: "Nobody has made it out alive." The desert around them is vast and empty, the ground cracked, sun-bleached, with long shadows stretching behind the figures. The mood is still, surreal, symbolic, and filled with existential weight. BACK VIEW ONLY. FULLY REAR-FACING COMPOSITION. CAMERA BEHIND BENCH AND ALL CHARACTERS. Shot with Cooke lenses, ARRI Alexa sensor, in 8K ultra-detailed resolution, high dynamic range, golden hour lighting, with dramatic shadows, subtle film grain. Color grading inspired by Denis Villeneuve and Roger Deakins, evoking themes of loneliness, time, and quiet endurance. in the sign must say : "Nobody has made it out alive."

7 hours ago

fine Art photography, OBtaozhuang Street fashion shot from a distance photo of a 24-year-old Wolof-Bavarian female vibrant festival-goer with a warm and inviting expression. She has Warm beige skin with a subtle flush across the nose and cheeks. The skin pores and texture are clearly visible and in focus. Her Eyes with pointed outer edges, Enigmatic, dark emerald eyes, framed by long, elegant eyelashes. Her haircut is Punk-inspired undercut with spiked crown and neon streaks, haircolor is black with a hint of iridescence, resembling the darkness during a solar eclipse. Her eyebrows are Groomed arch shaped, complementing her delicate facial features. Her body is Smooth, tight skin over the upper arms and chest, small breast, toned abs, Female Bodybuilding style. Her upper body clothing is ultra short hoodie made from mutated fibers and organic mesh, with openings that expose the midsection, giving a mutated appearance Her midriff is clearly visible, Her lower body clothing is Frayed mini skirt with jagged hems and exposed seams She is positioned on the left side in the frame by the rule of thirds. Carrying a wounded survivor to safety, determination etched on her face. In the background A city skyline is dominated by the towering spires of corporate headquarters, their gleaming facades a stark contrast to the poverty below. The scene is lighted using Dim candlelight flickers in the windows of makeshift homes, offering a small measure of comfort in a world plunged into darkness. the model is lighted with soft natural lighting. in the style of Phoenix Obscura

7 months ago

Create a masterpiece oil painting in a realistic, atmospheric style, inspired by the chilling events in the suburbs of southern Sydney. The scene is set at twilight under an ominous blood-red sky, with a rising full moon partially obscured by swirling clouds. In the foreground, a large, shadow-drenched shed looms ominously on a secluded property near Barton Park, lit only by flickering torchlight. Cult members, cloaked in crimson and black robes, are arranged in a semicircle, performing a sinister ritual. Their faces are partly masked, their hands raised in supplication or soaked in dark fluids—devotion or madness indistinguishable. At the center of the ritual space, a symbolic altar of stone and rusted iron holds the carved remains of ancient demonic sigils from a forgotten grimoire. Faint outlines of chained female figures can be seen in the shadowed distance—ghostly silhouettes of captivity, not detailed graphically, but clearly tragic in tone. In the background, barely visible through the trees, sits a house of torment—its windows barred, a dim light glowing within. A religious building looms even farther away, its steeple outlined under the cursed moon, bearing silent witness to the desecration. Above, the night sky swirls with unnatural energy, as if a gateway is opening between worlds. The painting should evoke a palpable tension: horror without gratuity, symbolism without sensationalism. The tone is eerie, cinematic, and investigative, with subtle nods to the task force closing in—perhaps a pair of headlights breaking the treeline, or the faint silhouette of Detective Tank Dodge watching from a ridge, jaw tight, gun ready, truth dawning. This is a composition of duality—sacrifice and salvation, evil and justice—locked in a battle beneath a cursed sky.