PromptHero

A flat bright red poster background with nothing else in it. From the bottom of the frame a violet purple hand rises, palm open, fingers curled upward, skin glowing under hard neon light with fine visible texture. The hand cradles a torn scrap of an old photograph, like the last surviving piece of a face. The scrap is printed in cool ice blue and shows only a pair of dark eyes and the bridge of a nose, looking straight at the viewer with a tired quiet stare. The paper edges are rough and jagged and two fingers slip through a rip in the middle. Strong duotone colour, only red, violet and pale blue in the whole image. Bold graphic collage style, high contrast, hard shadow, matte print grain. Vertical composition with wide empty red space above the hand. No text anywhere in the frame. Aspect ratio 2 by 3.

convert to a painting

(Masterpiece, Award winning , Best Quality:1.2), art by Shintaro Kago, solo, menhera, Yamikawa Punk, jirai kei, (jirai kei fashion:1.1), detailed face, pink eyes, white Blouse, Frills, Skirts, Various accessories, (ear piercing), Japanese subculture, fashion, grunge, noise pop, Manic, punky style, (Akihabara:1.1)\, Stockings, colorful, pink theme, (Dark circles:1.2), 16k, UHD, HDR,(Masterpiece:1.5), (best quality:1.5),

A masterpiece cinematic color photo of a 34-year-old muscular Italian man with gritty, masculine and intense gaze. Sharp high cheekbones, a chiseled narrow sculpted jawline, intense dark brown eyes. On his right cheek, a prominent vertical scar is clearly visible. His hair is pitch black, matte-textured, slightly longer and messily tousled on top with natural volume, styled with a clean tapered shadow fade on the sides. A well-defined dark mustache and heavy 5 o'clock shadow stubble. He's an athletic lean, muscular build (6'3"), with toned abs, not bulky. He has heavy transitioning seamlessly black-and-grey tattoos covering his entire throat, neck, collarbone and entire chest: a large, detailed snake tattoo starts at the center of his throat and crawls down the middle of his chest, surrounded by intricate linework and shading. He wears a premium black leather motorcycle jacket over an open white dress shirt, showcasing a defined chest with intricate black ink snake tattoos. He is lighting a cigarette. Directly behind him stands a majestic, sleek white Doberman with cropped ears and a thick silver chain collar. The background features grand, ancient neoclassical stone architecture with massive monolithic pillars, soaring arches, and a monumental historic building facade under a dramatic overcast gray sky. High-end editorial fashion photography, cinematic mood, rich professional color grading, dramatic chiaroscuro lighting, shot on 85mm lens, sharp focus, imposing and powerful atmosphere.

close-up of a stunning fashion model, ultra-realistic, portrait, shot on a Sony A7III, high quality --ar 35:64 --stylize 250

playing guitar with Angus Young, on stage at an acdc concert, both wearing matching school uniforms

animate

a young east asian woman posing in futuristic attire against a solid light gray background. she is equipped with a large white mechanical apparatus on her back resembling a robotic wing, featuring the bold black text "rog". her left arm has a white cybernetic plate on the forearm and the letters "vac" on the bicep. she wears a flowing white dress with a translucent outer skirt and white mechanical boots. the shot is captured from a low angle, emphasizing the technological and mechanical design

Pain — “The Six Paths of Pain” + Konan Landscape Format AI Image Generation Prompt > Create a highly detailed, cinematic 2D anime scene in the authentic visual style of Naruto Shippuden, featuring all six Paths of Pain standing together in a threatening formation in the rain. The image should communicate overwhelming power, dominance, authority, intimidation, control and inevitability. This is not an emotional or melancholic scene. Do not portray Nagato's sadness, grief, trauma or personal suffering. This is Pain at his most powerful and imposing. --- MAIN COMPOSITION All six Paths of Pain and Konan are physically present and clearly visible: Tendō Pain — center front, closest to the camera and the unmistakable visual leader Shuradō Chikushōdō Ningendō Gakidō Jigokudō Konan Tendō Pain stands directly in the exact center of the image, slightly ahead of the other five Paths. The other five Paths stand behind him in a shallow, irregular half-circle formation, slightly staggered in depth rather than standing in a perfectly straight line. Konan stands unobtrusive in the Background. They should frame Tendō Pain visually without hiding one another. The composition should immediately read as: one central leader commanding five additional bodies — an entire army represented by six individuals. The viewer's eye should go to Tendō Pain first. Only afterward should the viewer discover the other five Paths surrounding him. --- TENDŌ PAIN Tendō Pain is the dominant focal point. He stands upright and completely stable: feet approximately shoulder-width apart knees slightly bent torso upright shoulders relaxed head slightly lowered eyes looking directly toward the viewer arms naturally positioned slightly away from his body hands relaxed and open He is not attacking. He is not preparing a dramatic fighting pose. His stillness should itself feel threatening. His expression is cold, controlled and completely confident, as if he already knows the outcome of the confrontation. No anger, screaming, laughing, smiling, sadness or desperation. His Rinnegan must be clearly visible and recognizable, with a restrained natural violet appearance. --- THE OTHER FIVE PATHS The remaining five Paths stand behind Tendō Pain with slightly different positions and natural spacing. They must all remain recognizable as their specific canonical characters: Shuradō Chikushōdō Ningendō Gakidō Jigokudō Each one has: canonical orange hair canonical facial piercings visible Rinnegan black Akatsuki cloak red Akatsuki cloud patterns Konoha forehead protector black chakra receivers Their expressions should be calm, emotionless and intimidating. They should not look like clones with identical poses. Give each Path a slightly different natural stance while keeping the entire group visually disciplined and coordinated. Tendō remains clearly dominant and closest to the camera. --- AKATSUKI CLOAKS All six Paths wear their authentic black Akatsuki cloaks with red clouds and high collars. The cloaks should appear physically heavy and slightly soaked by the rain. Subtle wind moves the lower edges of the cloaks and some strands of their orange hair. Avoid exaggerated cape movement or superhero-like poses. --- CHAKRA RECEIVERS The black chakra receivers must be clearly visible on the Paths, especially around Tendō Pain's upper back and body. They are physical black rods, not glowing energy weapons. No electricity, no glowing aura, no energy effects. --- ENVIRONMENT The six Paths stand in the middle of a heavily damaged Konoha. Behind and around them: partially destroyed houses broken rooftops damaged wooden structures shattered walls cracked streets fallen trees scattered rocks rubble broken wooden beams damaged village structures The village should still be recognizable as Konohagakure, but it should clearly look like the aftermath of a devastating attack. However, the destruction must remain secondary to the six Paths. Do not turn the background into an enormous explosion or completely obliterate the village. The important visual idea is that the six Paths simply stand among the ruins, completely calm after the destruction. --- RAIN AND ATMOSPHERE Heavy, cold rain falls continuously throughout the scene. Rain droplets should be clearly visible against the dark background. Water should be visible on: Pain's face orange hair metal piercings forehead protectors Akatsuki cloaks Use subtle mist, atmospheric haze and small amounts of smoke around the ruined village. The rain should feel cold, oppressive and warlike, not romantic or beautiful. --- SKY A huge dark storm-cloud sky fills the background. Use deep: blue blue-gray charcoal near-black clouds. The sky should feel heavy and oppressive. No lightning. No giant moon. No sunset. No divine light beams. --- CAMERA Use a slightly low-angle cinematic camera, positioned approximately at chest height or slightly below the characters' eye level. The camera looks subtly upward toward the six Paths, making them appear physically imposing and dominant. Do not use an extreme low angle or extreme wide-angle distortion. Tendō Pain should be the largest and closest figure. The other five Paths should become progressively slightly smaller through natural perspective while remaining clearly visible. Use a cinematic medium-wide shot that captures the complete six-person formation as well as enough of the destroyed village to establish the setting. --- COMPOSITIONAL HIERARCHY The composition must have three clear visual layers: Foreground: Tendō Pain, dominant and sharply defined. Middle ground: the other five Paths forming a threatening formation behind him. Background: destroyed Konoha, rain, mist, smoke and dark storm clouds. Tendō Pain must remain the primary focal point. The five other Paths should create a visual frame around him rather than forming a distracting line. --- LIGHTING Use dark, cinematic, diffuse lighting coming through the storm clouds. The six Paths must still be clearly readable despite the darkness. Carefully illuminate: faces Rinnegan facial piercings orange hair red Akatsuki clouds wet black fabric The Rinnegan should have a subtle violet presence, but should not glow excessively. Use restrained reflections from the wet environment. Avoid glossy, artificial lighting. --- COLOR PALETTE Dominant colors: black charcoal dark blue cold gray muted brown restrained red subtle violet orange hair as a natural character-color accent Keep the overall image dark and atmospheric. No gold aura, no neon colors and no oversaturated fantasy lighting. --- MOVEMENT The six Paths themselves are almost completely motionless. Only the environment moves: falling rain subtle wind slight movement of cloaks moving strands of hair drifting mist occasional rain splashes This creates the feeling of the quiet moment before an overwhelming attack. Their stillness should make them more intimidating, not less. --- EMOTIONAL / THEMATIC DIRECTION The image should visually represent: “The Six Paths of Pain.” “You are not fighting one man. You are facing Pain.” Their presence alone should feel like a threat. Tendō Pain should look like the unquestioned center of this group — calm, absolute and inevitable. --- STRICT NEGATIVE PROMPT Do not include: Shinra Tensei effect active attack explosion fire energy beams lasers giant chakra aura glowing chakra network lightning giant moon sunset divine halo heavenly light screaming laughing smiling exaggerated facial expressions emotional Pain crying melancholic Nagato Yahiko Jiraiya flashbacks childhood imagery blood gore additional Naruto characters weapons held dramatically superhero poses extreme perspective distortion photorealism 3D CGI Western comic-book style chibi proportions generic anime character designs excessive glow excessive bloom excessive lens flare neon colors text subtitles logos watermarks FINAL CORE INSTRUCTION: Create six canonically accurate Paths of Pain standing silently together in the rain among the ruins of Konoha. Tendō Pain stands directly in front and at the exact center, clearly commanding the composition, while the other five Paths form a threatening formation behind him. Nobody is attacking. Nobody is emotional. Their complete stillness, unified appearance and overwhelming presence should make the scene feel more intimidating than an active battle.

Mezcla las dos imágenes y genera imágenes con doble exposición. La primera imagen está viendo a la izquierda. La segunda imagen está viendo a la derecha. Formato 9:16 vertical. Imagen de calidad 4k.

a woman dressed in purple turns and looks at the camera smiling

Hyper detailed goddess with skin made of liquid metal (Cyberpunk style) on a futuristic beach, a golden glowing core beating inside the chest sending energy to whole body, her hair is made of glass and glowing fiber optics, facing viewer. 35mm shot, f4.6, sharp focus, bokeh, glow_in_the_dark, eye_glow, luminescence, perfect composition. Lumen, RTX, reflections

Mr. J. C. Bloomfield (image 1) create an irish simple image about the following: EXTRAORDINARY SCENE AT BELLEEK. (November 1892) Abducting a Wife. Would not go to Mass or Live with her Husband—He says She is Insane; the Magistrates say she is not. A case of much local interest came before Messrs. Maloney, R.M., Tredennick and D. Johnston, the Magistrates who presided at Belleek Petty Sessions on Tuesday, when Mrs. John M'Goldrick, Ballymagahran (Castlecaldwell) was brought up in custody of the police charged on a warrant sworn by her husband that she, “has been discovered and apprehended at Ballymagahan under circumstances denoting a derangement of mind and a purpose of committing an indictable crime, that is to say—she has repeatedly threatened to take her life by drowning and being violent; she took up a stool in her hands and raised it in a threatening manner as if going to strike informant, John M'Goldrick, with it.” Mrs. M'Goldrick was a light little woman about 60 years of age, neat and clean in her person, and her husband was about the same age—a small farmer. M'Goldrick being sworn deposed to the truth of the information. Mr. J. C. Bloomfield—I appear as the friend of this poor woman, and if the application be granted it would be an outrage against civil and religious liberty. Some weeks since THE R. C. CURATE OF BELLEEK CAME to see the poor woman at my house, and during the conversation said the woman must be mad when she would not go home and to her religious duty, upon which I wrote to the Canon a letter which is in the hands of my solicitor. Later I was informed by my wife that he had told her the Parish Priest, Canon M'Kenna, insisted on her going to her duty or that she would be sent to the asylum. Later on the Canon himself appeared with another curate and the husband at the door of my house and made a great demonstration, threatening the woman that she should be placed in the asylum if she did not attend her duties and go home. She then declared to him she would not. I endeavoured to make the priest understand this—as I had previously in my first letter, that the Inquisition was not yet established—that it was yet no crime to refuse to go to her duties, nor a fault anything with his confinement in a lunatic asylum. He left in a rage, and I subsequently wrote to him another letter, the copy also now in the hands of my solicitor, who being engaged at Enniskillen Quarter Sessions, cannot be here. About two years since John M'Goldrick came to me and endeavoured to persuade me to be a party to commit his wife as a dangerous lunatic. Upon enquiring I found that this was A CONSPIRACY TO DEPRIVE THE WOMAN OF HER LIBERTY. because she would not attend to her religious duties. I also found the whole family were parties to her incarceration. The poor woman from the persecution she underwent had run from her home and for some time was absent, but I found by the police acting as a servant in a farmer's in Co. Tyrone. On or about the 6th November, ’90, she fled into my house for protection and there remained for two years, all but a few days, and acted in the most exemplary way. On Wednesday I was in Enniskillen, and on my return by the late train I found that the poor woman had been abducted by a party of men while my family including Sir Fenton Hart, were at dinner, and I was yesterday informed that the husband had sworn an affidavit and obtained a warrant to bring her before the magistrates as dangerous lunatic. I hereby swear that such an information is absolutely false, and that a more correct, well-behaved woman never lived in our house, and quite ready to receive her back and go bail for her conduct. Should this warrant during abduction and false information succeed in its purpose, the result will be a calamitous exhibition—a state of things utterly unconstitutional and subversive of civil and religious liberty. Mr. Maloney (to M'Goldrick)—On what grounds do you make your application? The applicant made a brief statement embodying the facts that his wife left him five years ago, and at length he discovered her whereabouts and brought her home, and she had threatened to destroy herself, and then went away from him. Mr. Maloney (to Mrs. M'Goldrick)—Are you suffering from any illness? Mrs. M'Goldrick—No sir; I gave myself up to Mr. Bloomfield, and I will live where I am. Husband—And not stop with me. Wife—No, nor I never threatened to drown myself. Mr. Bloomfield again gave testimony to the woman's exemplary conduct, and stated that when she was abducted Dr. Stephens was sent for and the priest, and he believed they said the woman was mad. He could prove it, and if pressed will prove it a false accusation and THEY ARE LIABLE TO A TRIAL FOR BIGAMY. The man in his affidavit says, “For the last three years I have noticed my wife,” whereas the woman has been in my house for the past two. Husband—You were in Dublin, and I was watching outside. Mr. Maloney (to Husband)—What do you want to put her in an asylum for?—If we leave the house this woman may drown herself. Mr. Bloomfield—Then why do you take her from us?—Why did your wife bring her to your house? Sgt. Greer said he knew the woman for the past six months and did not consider her insane, or that she had anything wrong with her. Mr. Maloney (to Mrs. M'Goldrick)—Are you willing to go back to Mr. Bloomfield?—Yes, sir, I will go back to-night. Did your husband ask you to go back and live with him?—Yes, and I would not go. Mr. M'Hugh, who was in court, here became infuriating and chipping about declaring very Sotto voce that “it was scandalous.” M'Goldrick said the woman had run away from Mr. Bloomfield, who had to get men and dogs out to hunt the deserter for her. Mr. Bloomfield—This is false. But is it not to be wondered at, that a woman would threaten to drown herself because of your bad treatment of her for refusing to go to her duties. Dr. Stephens here volunteered evidence and asked to be sworn, he declared the woman was insane and should be sent to an asylum. In reply to Mr. Bloomfield witness admitted it was four years since he examined her, and two years of the time since she had been in Mr. Bloomfield's. He only saw her once since. MR. M'HUGH IN EVIDENCE. Mr. M'Hugh again exhibited alarming symptoms of excitement. He picked up a law book, and placing a new pair of pince nez on his nose tried to read, but the being up to those fashionable contrivances, the glasses came off; then when he held them his hand shook so much he laid down the book and declared “it was poisonous.” Mr. Tredennick accused Mr. M'Hugh's interference, ordered him to keep quiet, and District Inspector Toppers gave him a caution. Mr. Maloney at length attended by the scene, asked him what he wanted. Mr. M'Hugh declared it was insane if Mr. Bloomfield should be permitted to take away this man's wife. Mr. Bloomfield—I never did—never interfered. Mr. M'Hugh again pranced about, and Mr. Toppers again had to snub him. Mr. Tredennick—Why is Mr. M'Hugh speaking or interfering? Is he a witness? Mr. Maloney—My curiosity was aroused by conduct and I asked the question. Mr. M'Hugh said he was not anxious to be examined, but immediately proceeded to make a long statement. He was however stopped and swore, and he then said he met Canon M'Kenna at Castlecaldwell, and from his conversation with him sent an order to Dr. Stephens to come out and examine her, as it was commonly reported the woman was a dangerous lunatic. The man and husband also said she was dangerous—and I may tell you that I would not allow any man in Ireland to interfere with my wife. The fact of the woman leaving her husband was proof enough that THERE WAS SOMETHING RADICALLY WRONG. Mr. Bloomfield—During the two years she has been in Blen-na-lung do you know anything about her?—No. If the man was anxious to have his wife living at home with him why did he swear an affidavit to put her in an asylum? Mr. M'Hugh would not answer this question but poured forth a torrent of words in which could only be distinguished something about “because she stopped in a certain place,” “she would not stop with her husband,” “if Mr. Bloomfield dared to keep my wife,” &c. During the time this jargon was uttered Mr. Maloney looked on smilingly, whilst Mr. Tredennick, who had evidently less time to spare, was annoyed. At length he finished and Mr. Bloomfield remarked—“A magnificent specimen of declamation.” NEW WITNESS. Mr. Tredennick asked had Dr. Stephens sworn an information. Dr. Stephens said not, but he was prepared to do so, and state the grounds for his declaring the woman insane. He saw her on Sunday for the first time in the past two years. Upon your single visit you find she is a dangerous lunatic?—And knowing her previous history, but I did not take into consideration the time she was in your house. Mr. Tredennick—Would it not be possible that a person would be insane and recover since?—They might be insane for only a day and recover. Mr. Bloomfield—Not one woman in a hundred would have experienced the treatment she did, and not go insane. Mr. Maloney then examined the woman and she said she would not go back to her husband. Asked why she would not go back, she said she knew herself, and she would not listen to his wrong talk. She gave herself up to Mr. Bloomfield as she wanted to get peace, and her husband was trying to make her out of her mind. Why could not he leave her alone and give her liberty to earn her living as she had done and was able to do, and she did not want a half-penny from him. HUSBAND WANTS HER TO GO BACK. Have you got children, and why will you not go back to them?—They gave me bad usage and I will take an oath I will not stand on his floor again. I have two hands and I will earn my living if they leave me alone. Asked further questions about the children, the woman answered all well and intelligently. In reply to Mr. Maloney Mr. Bloomfield repeated his statement, that during the past two years the woman had always been quiet save when she dwelt upon the way she had been treated by her husband and family. Mr. M'Hugh here called M'Goldrick aside and told him quietly (so that the bench would not hear) to dare the magistrates to send her home with Mr. Bloomfield, and M'Goldrick at once called this out, that the woman was his wife. Mr. Bloomfield asked for the protection of the court, he had not interfered with the pair; the woman came to him, and he was in the midst of the greatest nest of ruffians. The magistrates unanimously made the following order—‘Defendant to be discharged from custody, being satisfied she is not insane.’ Mr. Bloomfield asked for protection for the woman. The country was a free one, and she should be able to go where she liked. Mrs. M'Goldrick—I will give myself up to Mr. Bloomfield. Mr. Bloomfield said that if she was interfered with he would take the case up in another way. Mr. M'Hugh attempted to make some remarks but was not attended to, and finally silenced, and the woman was taken down to Johnston's hotel.

Oversized white sweatshirt, white purple oversized combat jean, styled with footwear: white purple neutral or nike sneakers and white ribbed socks. Environment: muted white purple-toned studio background. Lighting: soft cinematic glow highlighting skin and fabric textures. Style: fashion editorial x futuristic. Composition: model seated elegantly with relaxed posture. In floor keep my face and body hair style 100% same as in reference Images.

Skin must be clean and flawless: no tattoos, no scars, no marks, no blemishes. Wearing the dress in the provided picture, perfectly fitted to her body, highlighting her natural curves in a realistic and elegant way. A full character reference sheet showing multiple angles and views of the same woman, consistent identity across all views: - full body front view, standing pose, head to toe visible; - full body back view, showing body shape from behind; - full body side view, natural posture; expression; neutral background, studio lighting, clean composition, no distractions, highly detailed, realistic skin texture, consistent proportions across all views, no distortion, no extra limbs.

cette fauchesse sur un velo noir