view placing the camera from above prompts

6 months ago

First-person POV: you open your eyes while lying on a thin, hard mattress placed directly on the cracked linoleum floor of a cold, concrete-walled apartment. In front of you, your feet are visible under a faded wool blanket. Pale morning light seeps through a small, barred window covered in frost. The ceiling is low and stained. To the right, hanging above eye level, are two framed portraits of Kim Il-sung and Kim Jong-il, their eyes seemingly watching you even in the silence. The room is sparse—no furniture except a rusted metal cabinet and an old state-issued radio softly murmuring distant propaganda. Your breath fogs in the freezing air as the sound of a patriotic hymn echoes faintly from a loudspeaker outside. The atmosphere is quiet, rigid, and lifeless. The scent of old dust, damp cement, and faint coal smoke fills your lungs. Your body is stiff from the cold, and your fingers instinctively reach for the edge of the blanket, as if to pull reality back over your eyes. Visual specs: • 8K ultra-detailed cinematic realism, HDR, IMAX Laser style, stylize 750 • Camera: Canon R5 • Lens: 16mm • Aperture: f/4 • Lighting: weak dawn light from window, diffused and cold • Composition: perfectly centered first-person view, camera at eye level, feet visible stretched toward the wall

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The focus of the camera is on my feet, which are in the foreground, with my toes and feet naturally moving as if I just woke up. The perspective comes from a low point, emphasizing the lower part of my legs and feet. In the background, I have a window positioned several feet away from me, allowing a view of the far-off Milad Tower in Tehran. The window is large and has a frame with soft, natural light streaming through it. The Milad Tower is visible far in the distance beyond the window. The tower appears as a small but distinct feature in the scene, with its cylindrical body narrowing as it rises, topped with a wide, round observation deck that looks like a saucer. The top part of the tower should be easily identifiable by its unique design, even from afar. It is lit at night, but during the morning, it is a dark silhouette in the distance, set against a lightening sky. The window is not immediately next to me, but rather a few feet away, so the view of the tower is distant and provides depth to the scene. The Milad Tower should appear small in the background, but its distinctive shape makes it recognizable. In addition to the window, there are several photo frames placed on the walls in the room, showing images of famous historical Iranian figures. These photo frames are in the background, and they should have a natural, historical aesthetic to them. The frames are not the main focus, but they are visible in the scene, contributing to the overall atmosphere of the room. The focus remains on my feet and the bed in the foreground, while the Milad Tower and the photo frames in the background add a sense of space and depth. The room is softly illuminated by the natural morning light coming through the window, casting a warm glow on the floor and my feet.

6 months ago

First-person POV: you open your eyes while lying on a thin, hard mattress placed directly on the cracked linoleum floor of a cold, concrete-walled apartment. In front of you, your feet are visible under a faded wool blanket. Pale morning light seeps through a small, barred window covered in frost. The ceiling is low and stained. To the right, hanging above eye level, are two framed portraits of Kim Il-sung and Kim Jong-il, their eyes seemingly watching you even in the silence. The room is sparse—no furniture except a rusted metal cabinet and an old state-issued radio softly murmuring distant propaganda. Your breath fogs in the freezing air as the sound of a patriotic hymn echoes faintly from a loudspeaker outside. The atmosphere is quiet, rigid, and lifeless. The scent of old dust, damp cement, and faint coal smoke fills your lungs. Your body is stiff from the cold, and your fingers instinctively reach for the edge of the blanket, as if to pull reality back over your eyes. Visual specs: • 8K ultra-detailed cinematic realism, HDR, IMAX Laser style, stylize 750 • Camera: Canon R5 • Lens: 16mm • Aperture: f/4 • Lighting: weak dawn light from window, diffused and cold • Composition: perfectly centered first-person view, camera at eye level, feet visible stretched toward the wall

8 months ago

I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The camera focuses on my feet in the foreground, with my toes and feet naturally moving. The perspective comes from a low point, emphasizing the lower part of my legs and feet. In the distance, there is a window placed a few feet away from me, allowing a view of the far-off Milad Tower (Borj Milad) in Tehran. The window frame is clearly visible, with the tower appearing as a small feature in the far background. The Milad Tower is a tall, cylindrical structure with an observation deck at the top, and it’s positioned far away from me, beyond the window, creating a sense of depth in the scene. The tower is distant enough to be a subtle part of the overall view, adding to the peaceful, calm atmosphere of the room. The interior of the room is softly illuminated by the morning light coming through the window, casting light on the floor and my feet. The window itself is not very close to me, providing some space between the foreground (my feet) and the distant view of the Milad Tower, which remains faint and unobtrusive. This setup gives a sense of separation, with the focus still on the feet and the bedroom scene, while the window and the Milad Tower provide a distant and peaceful backdrop.

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The camera focuses on my feet in the foreground, with my toes and feet naturally moving. The perspective comes from a low point, emphasizing the lower part of my legs and feet. In the distance, there is a window placed a few feet away from me, allowing a view of the far-off Milad Tower (Borj Milad) in Tehran. The window frame is clearly visible, with the tower appearing as a small feature in the far background. The Milad Tower is a tall, cylindrical structure, with a wide, round observation deck at the top, resembling a saucer. The body of the tower tapers as it rises and has a sleek, modern appearance with a distinctive design. The tower is lit at night, but in the morning light, it’s a darker silhouette against the horizon. The tower is positioned far away from me, beyond the window, creating a sense of depth in the scene. It should appear small and distant, but its unique shape, with the round observation deck, makes it recognizable even from this distance. The tower is not a central focus of the scene, but serves as a distant and peaceful backdrop. The interior of the room is softly illuminated by the morning light coming through the window, casting light on the floor and my feet. The window itself is not very close to me, providing some space between the foreground (my feet) and the distant view of the Milad Tower, which remains faint and unobtrusive. This setup gives a sense of separation, with the focus still on the feet and the bedroom scene, while the window and the Milad Tower provide a distant and peaceful backdrop.

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The focus of the camera is on my feet, which are in the foreground, with my toes and feet naturally moving as if I just woke up. The perspective comes from a low point, emphasizing the lower part of my legs and feet. The camera focuses sharply on my feet, making them the clear focal point, while everything in the background is blurred. In the background, there is a window placed a few feet away from me, and beyond the window, you can see the distant Milad Tower in Tehran. The tower should be small and blurry in the background, its details indistinct due to the camera focusing on my feet in the foreground. The Milad Tower should be barely discernible, with its distinctive shape slightly visible as a vague silhouette. The top of the tower (its observation deck) can be vaguely seen in the blur, but it is not sharp or clearly defined. There are also several photo frames on the walls of the room, displaying pictures of famous historical Iranian figures like SHAH. These photo frames are in the background, but since the focus is on my feet, they too appear blurry, contributing to the atmosphere but not stealing attention from the main subject. The light in the room is natural, coming through the window, softly illuminating the floor and my feet. The overall mood of the image is calm and subtle, with the primary focus on the lower part of my body and the distant, blurred view of the Milad Tower.

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The focus of the camera is on my feet, which are in the foreground, with my toes and feet naturally moving as if I just woke up. The perspective comes from a low point, emphasizing the lower part of my legs and feet. The camera focuses sharply on my feet, making them the clear focal point, while everything in the background is blurred. In the background, there is a window placed a few feet away from me, and beyond the window, you can see the distant Milad Tower in Tehran. The tower should be small and blurry in the background, its details indistinct due to the camera focusing on my feet in the foreground. The Milad Tower should be barely discernible, with its distinctive shape slightly visible as a vague silhouette. The top of the tower (its observation deck) can be vaguely seen in the blur, but it is not sharp or clearly defined. There are also several photo frames on the walls of the room, displaying pictures of famous historical Iranian figures. These photo frames are in the background, but since the focus is on my feet, they too appear blurry, contributing to the atmosphere but not stealing attention from the main subject. The light in the room is natural, coming through the window, softly illuminating the floor and my feet. The overall mood of the image is calm and subtle, with the primary focus on the lower part of my body and the distant, blurred view of the Milad Tower.

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The focus of the camera is on my feet, which are in the foreground, with my toes and feet naturally moving as if I just woke up. The perspective comes from a low point, emphasizing the lower part of my legs and feet. The camera focuses sharply on my feet, making them the clear focal point, while everything in the background is blurred. In the background, there is a window placed a few feet away from me, and beyond the window, you can see the distant Milad Tower in Tehran. The tower should be small and blurry in the background, its details indistinct due to the camera focusing on my feet in the foreground. The Milad Tower should be barely discernible, with its distinctive shape slightly visible as a vague silhouette. The top of the tower (its observation deck) can be vaguely seen in the blur, but it is not sharp or clearly defined. There are also several photo frames on the walls of the room, displaying pictures of Family. These photo frames are in the background, but since the focus is on my feet, they too appear blurry, contributing to the atmosphere but not stealing attention from the main subject. The light in the room is natural, coming through the window, softly illuminating the floor and my feet. The overall mood of the image is calm and subtle, with the primary focus on the lower part of my body and the distant, blurred view of the Milad Tower.

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The focus of the camera is on my feet, which are in the foreground, with my toes and feet naturally moving as if I just woke up. The perspective comes from a low point, emphasizing the lower part of my legs and feet. In the background, I have a window positioned several feet away from me, allowing a view of the far-off Milad Tower in Tehran. The window is large and has a frame with soft, natural light streaming through it. The Milad Tower is visible far in the distance beyond the window. The tower appears as a small but distinct feature in the scene, with its cylindrical body narrowing as it rises, topped with a wide, round observation deck that looks like a saucer. The top part of the tower should be easily identifiable by its unique design, even from afar. It is lit at night, but during the morning, it is a dark silhouette in the distance, set against a lightening sky. The window is not immediately next to me, but rather a few feet away, so the view of the tower is distant and provides depth to the scene. The Milad Tower should appear small in the background, but its distinctive shape makes it recognizable. In addition to the window, there are several photo frames placed on the walls in the room, showing images of famous historical Iranian figures. These photo frames are in the background, and they should have a natural, historical aesthetic to them. The frames are not the main focus, but they are visible in the scene, contributing to the overall atmosphere of the room. The focus remains on my feet and the bed in the foreground, while the Milad Tower and the photo frames in the background add a sense of space and depth. The room is softly illuminated by the natural morning light coming through the window, casting a warm glow on the floor and my feet.

6 months ago

A grotesquely massive super-heavyweight IFBB Pro bodybuilder in his early 40s, performing the official Front Double Biceps pose at center stage. He wears only a minimal white string jockstrap, tightly stretched across his bulging crotch. His biceps are flexed and raised at shoulder height, elbows bent at 90 degrees, fists clenched tightly. His arms are incredibly thick and veiny, towering like living columns of power. His lats flare outward like wings, abs are carved and symmetrical, pecs striated and full. His thighs are colossal and vascular, glutes round and tight, calves sharply defined. He has the face of a handsome Hollywood actor — clean-shaven, strong jawline, symmetrical features, piercing eyes, and short, styled hair. His expression is calm, confident, and dominant. He looks directly into the camera, locking eyes with the viewer. **This is not a low-angle view. The camera is not placed below the subject. There is no upward tilt. The camera is positioned exactly at the same height as the bodybuilder’s eyes, aligned straight with his gaze. The viewer is standing directly in front of him, face-to-face, seeing him from a flat, neutral, symmetrical perspective.** Other massive, sweaty bodybuilders stand behind him on stage, waiting their turn. The shot is ultra photorealistic, cinematic lighting, full-body, vertical 9:16 format, 8K UHD. A powerful depiction of muscle symmetry, masculine dominance, and gay-coded charisma.

6 months ago

A grotesquely massive super-heavyweight IFBB Pro bodybuilder in his early 30s is actively hitting the official Front Double Biceps pose at center stage, his entire body tense and flexed. His feet are shoulder-width apart, knees slightly bent for balance. Both arms are fully raised and flexed at shoulder height, elbows bent at 90 degrees, fists clenched with intense pressure. His biceps explode with size and vascularity, his arms towering like living columns of muscle. His lats flare outward beneath the arms like wings, abs are sharply carved, pecs striated and full. His thighs are enormous and veiny, glutes round and locked, calves thick and defined. He wears only a minimal white string jockstrap, tightly stretched across his prominent bulge. He has the face of a handsome Hollywood actor — clean-shaven, symmetrical bone structure, strong jawline, piercing eyes, and neatly styled short hair. His expression is confident and composed. He looks directly into the camera, locking eyes with the viewer in a bold, dominant way. **This is not a low-angle view. The camera is not placed below the subject. There is no upward tilt. The camera is positioned exactly at the same height as the bodybuilder’s eyes, aligned straight with his gaze. The viewer is standing directly in front of him, face-to-face, seeing him from a flat, neutral, symmetrical perspective.** Several other massive, sweaty bodybuilders are visible behind him on stage, waiting their turn. The shot is ultra photorealistic, full-body, vertical 9:16, cinematic lighting, 8K UHD. A powerful depiction of symmetry, strength, and gay-coded masculinity.

6 months ago

A grotesquely massive super-heavyweight IFBB Pro bodybuilder in his early 30s is actively hitting the official Front Double Biceps pose at center stage, his entire body tense and flexed. His feet are shoulder-width apart, knees slightly bent for balance. Both arms are fully raised and flexed at shoulder height, elbows bent at 90 degrees, fists clenched with intense pressure. His biceps explode with size and vascularity, his arms towering like living columns of muscle. His lats flare outward beneath the arms like wings, abs are sharply carved, pecs striated and full. His thighs are enormous and veiny, glutes round and locked, calves thick and defined. He wears only a minimal white string jockstrap, tightly stretched across his prominent bulge. He has detailed tattoos inked across his **lower abdomen and upper thighs**, wrapping around the muscular contours of his body — intricate, masculine designs that enhance his physical dominance without distracting from muscle symmetry. He has the face of a handsome Hollywood actor — clean-shaven, symmetrical bone structure, strong jawline, piercing eyes, and neatly styled short hair. His expression is confident and composed. He looks directly into the camera, locking eyes with the viewer in a bold, dominant way. **This is not a low-angle view. The camera is not placed below the subject. There is no upward tilt. The camera is positioned exactly at the same height as the bodybuilder’s eyes, aligned straight with his gaze. The viewer is standing directly in front of him, face-to-face, seeing him from a flat, neutral, symmetrical perspective.** Several other massive, sweaty bodybuilders are visible behind him on stage, waiting their turn. The shot is ultra photorealistic, full-body, vertical 9:16, cinematic lighting, 8K UHD. A powerful depiction of symmetry, strength, and gay-coded masculinity.

3 months ago

Same image frame, view placing the camera on top of them

3 months ago

Same image frame, view placing the camera behind them

3 months ago

Same image frame, view placing the camera from above, drone shot

6 days ago

“Using the attached image as a reference for the man’s face and Ashanti royal attire, recreate him inside the same modern podcast studio but from a side-profile camera angle. Position the camera to the left side of the man, capturing a clear sideways view of his face, crown, and gold-and-kente royal garments. Show him seated at the podcast desk, speaking into the microphone from the side, with his hands resting naturally—either on the desk or holding the royal staff. Rearrange the studio environment to fit the new angle: include parts of the mixing console, LED-lit acoustic panels, shelves, and the podcast screen, but all positioned according to the new sideways perspective. Use soft, cinematic studio lighting that highlights the gold textures in his Ashanti regalia while keeping the mood modern and professional. Ensure the final image looks like a completely different shot, captured by a second camera placed at the side, not a front-facing angle.”

7 months ago

A highly realistic tabletop photograph of a conceptual sushi arrangement inspired by the work of Kazimir Malevich. The dish honors Suprematism through the composition of geometric, real-world ingredients — minimalist squares, rectangles, circles, and voids, arranged with stark asymmetry and spatial tension. Each sushi piece is handmade and slightly irregular, referencing Malevich’s abstract forms while remaining firmly in the realm of culinary craft. A single red tuna square placed off-center on a rice block mimics his red square on white A blackened nori rectangle floats beside a small cube of white daikon — contrast and negative space become the design A circle of pickled radish intersects a tamago rectangle, breaking the grid A void space is left intentionally blank between elements on the plate — emphasizing absence as much as presence One piece may be a cube of charcoal-grilled eggplant on rice, evoking the black square — textured, dark, earthy Color Palette: Muted, natural tones with a limited palette: ivory white rice, deep matte black nori, dark red tuna, pale yellow tamago, and light grey or beige plate. No artificial dyes or vibrant garnishes. The composition is more about form and proportion than flavor or ornament. Plate & Table Setting: Served on a matte porcelain square plate with ample negative space. The arrangement follows Suprematist principles — asymmetry, visual imbalance, gravity-defying placement. One piece may be positioned at the extreme corner. The table beneath is dark wood or concrete, referencing Malevich’s material seriousness. Camera View: Overhead or slightly angled — shot like a museum documentation photo, clean and quiet. Slight tilt or perspective distortion is allowed to reflect human error and tension. Lighting: Flat, soft ambient light. No dramatic shadows. Even illumination across all surfaces, mimicking natural daylight in a gallery or quiet kitchen. Surfaces should look honest, not stylized. Material Texture: Fish grain visible, slightly moist Nori uneven at the edges Knife cuts evident in egg and daikon Rice slightly loose and irregular Plate surface has minor scratches or glaze imperfections Mood: Silent, abstract, and cerebral. The image is a culinary still life — not about indulgence, but about pure form, balance, and the tension between presence and void. It should feel like a Suprematist painting you could eat, made by hand, with reverence for structure.

23 days ago

the Grim Reaper and a man sitting at the bar, viewed from behind, the man is holding a guitar and a beer mug, the Grim Reaper beside him with an electric guitar, cozy tavern atmosphere, same lighting and setting as the original image, warm cinematic light through the windows, photorealistic, 8k, masterpiece, over-the-shoulder perspective, detailed background, depth of field same composition and characters as the original artwork, but camera placed behind them, showing their backs and the bar from a rear perspective.

23 days ago

the Grim Reaper and a man sitting at the bar, viewed from behind, the man is holding a guitar and a beer mug, the Grim Reaper beside him with an electric guitar, cozy tavern atmosphere, same lighting and setting as the original image, warm cinematic light through the windows, photorealistic, 8k, masterpiece, over-the-shoulder perspective, detailed background, depth of field same composition and characters as the original artwork, but camera placed behind them, showing their backs and the bar from a rear perspective.

23 days ago

the Grim Reaper and a man sitting at the bar, viewed from behind, the man is holding a guitar and a beer mug, the Grim Reaper beside him with an electric guitar, cozy tavern atmosphere, same lighting and setting as the original image, warm cinematic light through the windows, photorealistic, 8k, masterpiece, over-the-shoulder perspective, detailed background, depth of field same composition and characters as the original artwork, but camera placed behind them, showing their backs and the bar from a rear perspective.

23 days ago

¿Me puedes dar esta imagen a color? the Grim Reaper and a man sitting at the bar, viewed from behind, the man is holding a guitar and a beer mug, the Grim Reaper beside him with an electric guitar, cozy tavern atmosphere, same lighting and setting as the original image, warm cinematic light through the windows, photorealistic, 8k, masterpiece, over-the-shoulder perspective, detailed background, depth of field. same composition and characters as the original artwork, but camera placed behind them, showing their backs and the bar from a rear perspective.

23 days ago

the Grim Reaper and a man sitting at the bar, viewed from behind, the man is holding a guitar and a beer mug, the Grim Reaper beside him with an electric guitar, cozy tavern atmosphere, same lighting and setting as the original image, warm cinematic light through the windows, photorealistic, 8k, masterpiece, over-the-shoulder perspective, detailed background, depth of field same composition and characters as the original artwork, but camera placed behind them, showing their backs and the bar from a rear perspective.

6 months ago

A futuristic photoshoot showcasing an advanced, astronout full armor, suspended and displayed with vibrant, crisscrossing thick mooring straps that dominate the composition. The armor is crafted from a translucent, frosted material with a matte finish, giving it a smooth surface with a soft, cloudy translucency that gently reveals the interior, though slightly blurred. Inside, glowing plants and minimal electronic components emit soft hues of orange and green, adding a harmonious fusion of biotechnological and organic elements. The armor's design is abstract and avant-garde, moving away from traditional humanoid forms. It features elongated, flowing curves, irregular geometric shapes, and unexpected joints, evoking an astronout -like, organic structure. The sleek, minimalist exterior has no humanoid outline, suggesting a futuristic, imaginative design that's fluid and unconventional. The semi-translucent material provides a faint glimpse into the interior, where plants and components are subtly blurred, enhancing the armor’s ethereal, otherworldly presence. Suspended in mid-air, the armor is secured by vibrant mooring straps in electric blue, neon orange, and vivid green, which contrast sharply with the soft matte finish of the armor. These straps, used to hold the piece in place like a high-end art installation, create a striking juxtaposition between the sleek, futuristic design of the armor and the practical, utilitarian nature of the mooring system. The background is minimalist, featuring neutral tones and soft gradients that keep the focus on the armor. Organic elements like moss, exotic plants, and astronout -like flora in vibrant yellows, purples, and greens subtly enhance the futuristic design. This juxtaposition adds a touch of nature and life to the otherwise clean and technological aesthetic. The camera angle is unconventional, extremely close to the armor, allowing for an in-depth view of its intricate details, the texture of the frosted material, and the vibrant, chaotic mooring straps crisscrossing the background. The lighting is soft but precise, creating gentle reflections and highlights on the armor’s surface while emphasizing the contrast between the glowing plants, the minimalist structure, and the bold, bright neon straps. Captured in ultra-realistic, hyper-detailed 35mm photography style, this shot evokes the feel of a high-tech fashion magazine photoshoot, with every detail sharp and vivid, immersing the viewer in this futuristic and ethereal display. photorealistic. technology art magazine. artsy composition

8 months ago

POV first-person, I am a 30-year-old man, lying on my bed in my bedroom, just waking up in the morning. The focus of the camera is on my feet, which are in the foreground, with my toes and feet naturally moving as if I just woke up. The perspective comes from a low point, emphasizing the lower part of my legs and feet. The camera focuses sharply on my feet, making them the clear focal point, while everything in the background is blurred. In the background, there is a window placed a few feet away from me, and beyond the window, you can see the distant Milad Tower in Tehran. The tower should be small and blurry in the background, its details indistinct due to the camera focusing on my feet in the foreground. The Milad Tower should be barely discernible, with its distinctive shape slightly visible as a vague silhouette. The top of the tower (its observation deck) can be vaguely seen in the blur, but it is not sharp or clearly defined. There are also several photo frames on the walls of the room, displaying pictures of famous historical Iranian figures. These photo frames are in the background, but since the focus is on my feet, they too appear blurry, contributing to the atmosphere but not stealing attention from the main subject. The light in the room is natural, coming through the window, softly illuminating the floor and my feet. The overall mood of the image is calm and subtle, with the primary focus on the lower part of my body and the distant, blurred view of the Milad Tower.