View allAll Photos Tagged overprocessed
Just messing around with a whole lot of processing. It's a fair shot. A little off with the composition. Again, just playing a lot here.
LDW_1053ra
4 hours of clone stamping, blending, and masking to clean up the camera and tripod in this 3 exposure Tone Map...HDR should be subtle not overbearing, no one seriously appreciates the cooked surreality of a missused Art Button. I believe HDR should be used to improve the limitations of a digital sensor or maintain the lost DMAX in film scans, but also used to see for ourselves what overprocessing looks like.
adam alexander senior pics...all of the edits - if there is an action name in the file name it's a my four hens photography action :D
i don't like processed/overprocessed photos - but he does.
Keen to get better at shooting in extreme light without the colours washing out, whites overexposing and needing to really overprocess to come out with something I think looks acceptable.
Investing in a lens hood probably isn't a bad idea either...
Mister and I went to Rainbow Falls when we were in Hawaii....my shots of the falls weren't great, but I like this view of one of the pools at the top. Hope you have a great Wednesday.
One of my very first good looking images. This took (as I said) my first hard time on Lightroom so that this can feels overprocessed. Anyway I still like the mood I got to represent.
I was somewhat surprised to find electrical outlets in this old shack. I guess when the people left they must have found the refrigerator just a little too heavy.
the states have cut down on ... salt this winter? so my street has not been salted. it's an ice sheet.
it took me 2 1/2 hours to get to dame couture today, when it should have taken 1.
but i met holly and she is restyling my mom's dress. i adore her.
i also worked until 130 and i have a great headache.
in other news...
governor rod is my 4th cousin's husband.
my grandma is really close with her cousins, so it's a BIG DEAL. (nope.)
we're not involved. unless by involved you mean that whole part about me winning that seat auction or whatever. i totally pwnd jesse jackson.
Overprocessed sunset from my backyard, because, let's face it, there's nothing pretty to see around here.
To me, the two issues I am facing when taking lunar pictures are:
1. Focus. Even with live view and 10X zoom in, I still find focus to be an issue.
2. Post processing. How do I know I just overprocessed my picture.
Below is a link to a NASA Youtube lunar video.
adam alexander senior pics...all of the edits - if there is an action name in the file name it's a my four hens photography action :D
i don't like processed/overprocessed photos - but he does.
Finally a clear night when I'm at home. Pentax K-r through Meade ETX-90 telescope (1250mm f13.8 lens...more like 1400mm with extender)...before the fog rolled in...I think I overprocessed this; the telescope needs to be tuned - its focus is not nearly as sharp as it should be.
adam alexander senior pics...all of the edits - if there is an action name in the file name it's a my four hens photography action :D
i don't like processed/overprocessed photos - but he does.
adam alexander senior pics
adam alexander senior pics...all of the edits - if there is an action name in the file name it's a my four hens photography action :D
i don't like processed/overprocessed photos - but he does.
adam alexander senior pics
The "Justus Van Effen Complex" by architect Michiel Brinkman, build in 1922 in Rotterdam Spangen. The complex is waiting for renovation... (handheld HDR from 3 RAW's)
continuing experiment with HDR from single source - a bit overprocessed, no?
vertorama from two RAW images, combined and saved as .tiff. i then created 5 separate copies with different exposure levels (-2 to +2) and fed to photomatix. tell me if you have a better workflow, i'd love to hear from you! :)
Tip Of Borneo, Sabah, Malaysia
The nude lady in the park said "please keep me natural, Helle. Don't overprocess me, I want to be a natural neauty" - so here she is au naturel
...and would you look at that fantastic weather we had here today :-)
my amazing friend Ash got me Photoshop CS3. i decided to play with this random picture. i freaking love it, even if it is overprocessed. my eyes are green. ha. i want green contacts now.
I decided to restart my 365. My husband will be gone a lot, so i need something to occupy my time, and stuff to learn this new software. =] We'll see how far I make it this time. i'll finish it eventually. Soon I plan on enrolling at Animal Behavioral College and becoming a certified dog trainer. I've been looking for a new job... heaven knows I need one. that and I want to work with makeup more. blah. we'll see how this goes.
My favorite HDR that I've ever done. I finally got past the 'overprocessed' look and made it a lot more natural. I really like the way it came out.
aaaaaah, weekends, time to chill out and watch doovds! A crappy Jackie Chan DVD (Shinjuku Incident, not very good IMO) and some H2O lit with Maglite. 8 second exposure, Pentax 50mm f1.7 @f22 with wide angle fishy converter thing and all sliders set to maximum!!! (well, almost...)
Photowalked downtown Spartanburg with RedCrowe again today, but it was overcast, gray, and really, really non-contrasty. So, I'm in an overprocessing mood. I think I pushed some of these a little too far, but it's what I do, right?
It amazes me that little shops like this can survive when confronted with malls and large chains.
One last look at the Big Carp River before moving on.
Walking along this river was an experience I will treasure for a lifetime.
Porcupine Mountains Wilderness.
150 sec (32) @ f/9 ISO800,custom WB
overprocessed...
I think tracking,focus imperfections,seeing conditions, are all an issue with something this size....(@ f/9)
Only solution (practically) is a better camera...
do folks think the colors are overdone ??
note; star color seems OK..
.no star masking was applied...
www.tng.iac.es/news/2000/04/04/m57/
www.seds.org/messier/more/m057_h2.html
some excellent amateur CCD planetary images here;
Went with a friend of a friend to Troon yesterday. He had his 5d mark iii and a couple of nice lenses which he let me play with. Stunning quality and great to have a play with a full frame camera. Definately something I would like to own as an option to my 7d at some point.
Now where did I put that lottery ticket...
This is NOT HDR but just overprocessed (deliberately) to give a sort of outdoors feel. I actually dont mind it. Was also taken at 16mm with him only about 60cm from the lens. Crazy fun distortion! Wish id taken it at 2.8 though
St. Pauls Square in the Commercial District of Liverpool city centre.
Hideously overprocessed!
Needs a blue sky.
This is kinda hard to explain, but I'll give it a go:
I took 3 long exposure night driving shots and cranked the colour temperature right up to make them bright red/orange.
I then opened them as layers in GIMP, made one layer negative (inverted colours) and stacked all 3 shots on top of each other using "lighten only" and "darken only" layer modes and merged them into a single layer.
I then repeated the process with a different negative layer and ended up with 2 slightly different merged images.
I then took one of those images and flipped it upside-down, stuck it under the other image and used the smudge tool to hide the join (see examples in comments)
I then added the "emboss" filter, turned the contrast and saturation up a bit, then used and re-used the "pinch and whirl" filter.
Did that make any sense? Good!
HSS!!!
Babylights aka very fine highlights. This was handpainted Balayaged Babylights creating soft diffusion of color mimicking the natural effects of the sun. Box Color left Hair Dull and over processed, By adding Babylights We changed the tone of the color adding warmth and creating dimension. Because the hair had been overprocessed we used Olaplex in every step, from lifting to color to toning this kept cuticle smooth allowing this gorgeous shine. Her layers were reshaped and given maimum volume and movements
# TANZ EXTRATERRESTRISCH
## UNIVERSAL MASTER PROMPT — DIGIMONE20 / VIOLET LIQUID DRESS / GREEN LIQUID GLOVES / ORANGE LIQUID HAIR
### Eight-frame ultra-photorealistic ballet sequence in a fixed extraterrestrial cathedral (16:9)
**Status:** Complete consolidated master prompt, 27 October 2026.
**Authoritative inputs:** Four original Digimone20 portraits (front, rear, left profile, right profile) and the supplied empty extraterrestrial cathedral image.
**Output:** Eight separate landscape 16:9 photographs, not a collage.
**Priority:** The five original input photographs always outrank any previously generated result when identity or architecture conflicts occur.
---
## 1. ORIGINAL REFERENCE PERSON — ABSOLUTE IDENTITY LOCK
Use the four original reference photographs of the adult woman called **Digimone20**. All four depict the same individual. Each new frame must independently receive and re-examine **all four original portraits**: frontal, left side, right side, and rear. Never derive her identity exclusively from a previously generated image.
Reconstruct her actual recognizable face and physical characteristics afresh for every individual image. Preserve the original geometry and asymmetry of her eyes, eyelids, eyebrows, nose bridge and tip, lips, jaw, cheeks, chin, ears, neck, hairline and head; authentic natural skin texture, pores, small irregularities, original apparent adult age and body proportions. Her grey-green eyes, characteristic red lips and three small silver hoops **in each ear** are important visible details. Preserve the correct number and placement of those hoops whenever the respective ear is visible. Keep the original facial structure even when she smiles, laughs, turns or is splashed with color.
Do not beautify, idealize, rejuvenate, thin the face, enlarge the eyes, smooth pores, change the expression into a generic model look, alter the physique, exaggerate the figure, or replace authentic skin with synthetic CGI skin. The reference photos—not the creative costume—define who this woman is.
### Mandatory independent reference procedure
Before **each of the eight frames**, provide this complete set anew:
1. Original Digimone20 portrait, left profile.
2. Original Digimone20 portrait, frontal.
3. Original Digimone20 portrait, right profile.
4. Original Digimone20 portrait, rear.
5. The original empty extraterrestrial cathedral and reflective dance floor.
If the image generator can accept only five references, allocate all five slots to these originals. Preserve previously established shoes, gown, and fluid continuity using the detailed text descriptions below rather than sacrificing an original reference image. Earlier generated frames may be consulted separately for continuity only where tooling permits; they never supersede the four portraits or the empty cathedral.
## 2. UNDO THE BUN — ORANGE LIQUID HAIR
Digimone20's original sleek center-parted low bun is opened **before frame 1**. Infer an anatomically plausible loose hair length from the compact bun and its volume; approximately shoulder length is a reasonable guide, not a rigid measurement. Retain the authentic forehead, scalp parting, hairline and hair density.
Transform her freed hair visually into rich saturated **bright orange, heavy viscous liquid hair**. It remains recognizably arranged as individual hair strands and locks, but those locks are made of glossy orange fluid capable of extending into filaments, dripping, sweeping, joining and separating. The orange color is present from the first frame and remains an identifiable base color throughout the sequence. Hair must never revert to a bun, turn into a rigid plastic wig, change its hairline, or abruptly grow longer or shorter.
When the dancer turns, the orange hair inherits head rotation and follows with believable inertia and viscosity. During later movements, orange fluid makes contact with the violet dress and green glove-fluid and mixes naturally. Attached hair-fluid stretches before detaching; released droplets follow gravity. Colored liquid may flow onto the neck, shoulders, face and dress without concealing her recognizable facial identity.
## 3. IMMUTABLE EXTRATERRESTRIAL CATHEDRAL — EXACT BACKGROUND
The supplied **empty extraterrestrial cathedral / dance-floor image** is the one authoritative location for all frames. Reconstruct its actual geometry afresh from this same source image for **every separate generation**.
The fixed wide symmetrical environment includes:
- The monumental upper-center circular rosette made of glowing eye-like concentric organic structures.
- Curving biomechanical arches and intricate biological latticework.
- Spiral columns and living architectural pillars arranged symmetrically on both sides.
- Alien fungal growths, curled mushroom structures, bioluminescent plants and hanging luminous strands.
- A receding central arch with luminous spherical and circular structures.
- An expansive, highly polished reflective dance floor occupying the foreground.
- The same violet, purple, magenta, cyan, teal and turquoise palette, with the original minor warm accents.
**Background lock:** Use the reference image's actual architectural arrangement, layout, central axis, geometry, camera height, vanishing point, floor horizon, proportions, details and lighting positions. Do not introduce a different building, relocate structures, move the large rosette, mirror the scene, invent extra architectural objects, add a new principal spotlight scheme, or change the time or ambience. Do not copy incidental distortions from earlier AI generations; the original *empty* cathedral is definitive.
Its structural background stays fixed in all eight photographs. The reflective floor may develop new deposits and puddles of violet, vivid green and orange fluid as a consequence of the ongoing dance; these are additions to the unaltered floor, not changes to the cathedral.
## 4. FIXED WIDE CAMERA — 16:9
Every individual image must be **horizontal 16:9**, never square. Use the original wide cathedral perspective rather than squeezing or stretching it. Keep the camera fixed on the same central dancing area and show the woman full-length in the space. Frame widely enough for energetic pirouettes, arabesques and grand jetés without cutting off the top of her head, hair extensions, hands, fingertips, legs, shoes, feet or outward-flying liquid where practical.
The subject's apparent scale, perspective and camera distance should remain coherent between frames. Slight natural variation in body position across the floor is allowed, but not arbitrary camera relocation. Preserve a recognizable broad view of the extraordinary architecture to maintain dynamism and context.
Simulate a sharp professional medium-format photograph, harmonized deep depth of field (approximately f/16), fast shutter speed when dancing to freeze skin, hands and droplets sharply. Keep significant background architecture detailed and recognizable; avoid shallow-focus blur. Maintain authentic photographic perspective, shadow detail and clean highlights. No blown-out luminous architecture, no crushed blacks, no extreme color clipping or artificial HDR halos.
## 5. ONE EXACTLY REPEATED VIOLET LIQUID EVENING GOWN
The woman wears **one and the same unique deep-violet, completely opaque liquid evening gown** throughout the entire eight-frame sequence. It is on her in its complete established form in **frame 1 already** and is never replaced by a different dress.
Its fixed design is:
- Elegant modest shallow softly squared scoop neckline.
- Close-fitting but natural opaque bodice, accurately following her original physique.
- Natural shoulder line and long fitted sleeves extending to her wrists.
- Flowing floor-length lower skirt, capable of temporary dynamic flaring while she dances.
- Stable original waist placement, cut, coverage and underlying silhouette.
- Deep saturated violet base pigment.
The whole gown—bodice, sleeves, skirt and edges—is **100% fictional heavy, viscous, coherent liquid** that mysteriously maintains an elegant dress silhouette. It has **zero conventional textile**: no fabric weave, lining, stitching, seams, pleats, embroidery, appliqués, hard supports, rubber, latex, plastic, decorative panels or patterned print. Its visual appearance comes exclusively from fluid density, pigment concentration, viscosity, surface tension, highlights, reflections, refractions and gravity-driven streams.
It must already look genuinely liquid in frame 1, not a normal dress covered in shiny paint. Violet drops and slow hanging streams are visible under its sleeves and at its hem even in the first frame. Its shape can deform under physical movement, flare in a spin, stretch into sheets, make filaments and shed droplets; such changes are **temporary liquid movement of the same dress**, not wardrobe changes. The gown remains fully opaque and appropriately covering in all dance poses.
## 6. LONG VIOLET LIQUID SLEEVES
Both long sleeves consist of exactly the same deep-violet fluid as the bodice and skirt. They flow from the unchanged shoulders down to the hands, smoothly and without textile structure. Their lower surfaces can gather hanging drops; elbow flexion and raised forearms shift the gravitational low points. Drops released from moving arms retain initial arm motion before curving downward. The sleeves are never shortened, replaced, or altered into separate cloth garments.
## 7. BRIGHT GREEN GLOVES — SEAMLESSLY FUSED TO THE DRESS
Both hands and all five fingers per hand are fully coated in saturated **vivid green liquid gloves**. The green is part of the same fictional viscous liquid as the purple gown. This is not latex, rubber, plastic, cloth, paint on ordinary gloves or a separate physical accessory.
**Critical design lock:** Each green glove merges directly, smoothly and **seamlessly** into its violet long sleeve. There is NO cuff, opening, seam, joint, separate material edge or sharply outlined garment boundary at wrist or forearm. The skin-fitting green liquid transitions into the violet sleeve as one continuous fluid surface, with naturally interpenetrating pigments near the transition. The gloved fingers remain anatomically articulated with a correct thumb and four fingers, while bright-green filaments and small droplets may form at the fingertips.
The hand regions stay identifiable as green through all eight frames even as splashes and pigment mixing increase. Green pigment running from fingers onto purple sleeves and bodice should remain visibly traceable until physically mixed or diluted; it must not disappear when reaching violet fluid.
## 8. GREEN, VIOLET AND ORANGE FLOW TOGETHER
All three main pigments have consistent origins:
- **Deep violet:** the dress, long sleeves and fixed shoes.
- **Vivid green:** the seamless liquid gloves and their trails.
- **Bright orange:** the opened liquid hair.
As movement increases, they interact continuously. Create fine rivulets, thick streams, wet translucent edges, drips, thin filaments, larger detached drops, impact splashes, merging puddles and natural fluid marbling. Pigment color depends on local concentration and physical mixing. It may produce plum, dark muted green-violet, amber-purple, darker orange-purple or nearly neutral deep mixtures where concentrations become dense. Do not overlay neat digital geometric patterns, random painted stripes, or inconsistent colors unrelated to contact and flow.
The dress, gloves and hair should increasingly resemble **one physically communicating liquid system**, while preserving the woman's identity, the dress silhouette, green hand areas and an orange hair base. Fluid can travel down the arms, collarbone, shoulders, bodice, waist, skirt, exposed legs, ankles, shoes and floor. Earlier liquid streaks do not reset between images; new splashes add to them. Retain enough photographic skin to recognize Digimone20 clearly.
## 9. LIQUID ON HAIR, FACE AND NECK
Colored droplets from the raised hands and moving gown may land on the orange hair or face. Show gravity-guided fluid following the forehead, temple, cheek, jaw, nose contour, chin, neck and natural strands. Orange strands can cross the shoulders, brush the gown and receive green and violet streaks. Each subsequent frame retains the cumulative appearance of previously deposited fluid, allowing more as the choreography becomes intense. Eyes should remain readable, expression natural and real skin visible beneath and between the streaks. Do not disguise or replace her facial structure with fluid masks.
## 10. LIQUID ON LEGS AND FEET
When the skirt lifts naturally in motion, violet, green and orange liquid may trail across visible thighs, knees, shins, calves, ankles, straps and shoes. On a vertical leg, liquid flows downward; on a horizontal or tilted leg, liquid travels across its surface to a low edge before releasing droplets. Fast leg movement can release tangential drops which then curve downward under gravity. Accumulated streaks persist in later frames. Leg placement and balance must respect believable classical ballet anatomy.
## 11. EXACT SAME VIOLET BALLET SHOES — ABSOLUTE MODEL LOCK
Fix the shoe model from **image 1** and keep it unchanged in **all eight frames**. Both shoes are matching:
- Deep violet, consistent with the dress pigment.
- Softly rounded, **closed-toe** flat ballet slippers; low profile, no conventional heel.
- **Exactly two narrow crossed violet straps across each instep.**
- **One narrow violet ankle strap for each shoe.**
- Liquid-compatible glossy surfaces with believable form and reflections.
- Securely and anatomically attached to the dancer's correct feet.
Do not switch to pointe shoes, visible hard toe boxes, high heels, boots, sandals or different ballet footwear. Do not add calf-wrapping ribbons, new buckles, contrasting trim, ornaments, platforms or a different strap configuration. Maintain the same rounded toe shape, silhouette, base color and design even through fast spins, splashes and jumps. The shoes can become wet and stained by other pigments, but do not change model.
## 12. CLASSICAL BALLET — STRICT EIGHT-FRAME ENERGY PROGRESSION
The eight pictures depict consecutive moments of **one continuous performance**. Every frame is a distinct, technically plausible ballet pose, and energy increases strictly from image 1 to image 8. The dancer should be expressive, friendly, engaged and naturally happy, not unnaturally contorted or perpetually staring into the camera.
1. **IMAGE 1 — Energy 1/8:** Very gentle fourth-position plié and unhurried port de bras, small confident smile, hair mostly resting. The full liquid dress, fused gloves and precise ballet shoes already exist. First small drops hang and fall. Only tiny floor deposits.
2. **IMAGE 2 — Energy 2/8:** Slow, controlled tendu with a weight shift and one extended arm. A little more violet and green dripping; first orange hair contact with the dress; small floor puddles grow.
3. **IMAGE 3 — Energy 3/8:** Rising passé/relevé with dynamically flowing arms, gaze up or toward movement. Orange strands swing out. First visibly crossed green-orange-violet rivulets; mildly increased momentum and drops.
4. **IMAGE 4 — Energy 4/8:** Expressive balanced arabesque, rear leg extending behind. The liquid skirt trails and flares with small outward arcs; droplets inherit the leg and arm motion, then fall.
5. **IMAGE 5 — Energy 5/8:** Dramatic but anatomically plausible attitude or développé, arms sweeping broadly. Larger splashes; orange hair swings and joins violet-green liquid on dress and floor. Clearly joyful expression.
6. **IMAGE 6 — Energy 6/8:** Fast controlled pirouette. The heavy fluid skirt follows rotation with a delay and flares centrifugally; detached drops have tangential initial velocity and downward-curving trajectories. Larger mixed pools form.
7. **IMAGE 7 — Energy 7/8:** Powerful traveling classical grand jeté or comparably energetic jump. Extended limbs and both shoes fully visible in the 16:9 frame. Broad but plausible liquid flight arcs and accumulated floor splashes.
8. **IMAGE 8 — Energy 8/8:** Maximum energetic, exuberant, stormy but anatomically plausible ballet leap or spinning climax. Extensive fused liquid streams and three-pigment marbling, largest accumulated puddles, orange hair flowing dramatically, recognizable smiling face. **Do not conclude in a quiet bow.**
Each image should look noticeably more active than the previous one, with increasing movement magnitude, liquid trajectories and accumulated pigment. Never jump immediately to the maximum splash volume in image 1, and never reset a late image to a dry clean stage.
## 13. NATURAL HAPPY EXPRESSIONS AND GAZE
Let the dancer's expression evolve from a slight confident smile to genuine delight, open smiles, playful excitement and natural laughter. Preserve the actual motion of her cheeks, eyes and lips rather than drawing exaggerated expressions on a generic face. Head direction may change toward the movement, an extended hand, a raised leg, sideways, upward, away from the camera or briefly toward the photographer. Avoid repetitive direct-to-camera gazes. No fear, panic, sadness or expressionless mannequin face.
## 14. GRAVITY-BASED LIQUID TRAJECTORIES
The visual behavior of fictional heavy liquid must remain physically believable even though its ability to hold a gown silhouette is magical. Account for actual gesture direction, source position, arm and hair movement, gravity, acceleration, deceleration, angular velocity, viscosity, surface tension, air resistance and floor impact.
For a detached droplet, approximate its airborne location using:
\[
\mathbf r(t)=\mathbf r_0+\mathbf v_0t+\tfrac12\mathbf g t^2,
\qquad |\mathbf g|\approx9.81\,\mathrm{m/s^2}.
\]
For spinning surfaces, include the tangential velocity component \(\boldsymbol\omega\times\mathbf r\) at release. Drops begin with local source velocity, travel with momentum and curve downward; they do **not** fly indefinitely in ruler-straight horizontal lines, hover motionless or rise against gravity without an upward launch velocity. Where a fluid strand stays attached, it stretches, thins and trails before breaking into droplets. Infer credible impact locations on the dance floor and corresponding puddles.
**Important:** These formulas guide *visual plausibility*. A generative image is not an exact computational fluid dynamics simulation. Do not claim mathematically exact trajectories without running a dedicated physical simulation. Avoid obvious errors of gravity, timing and continuity.
## 15. PERMANENT FLOOR ACCUMULATION
The cathedral floor remains the same intact reflective surface in all images, but all fluid that has landed on it persists through the performance. Preserve and progressively enlarge earlier violet, green, orange and mixed-pigment puddles, streams, impact marks, splashes and small scattered droplets. Later frames must contain at least as much accumulated liquid as earlier frames. New drops merge with existing puddles naturally. No sudden cleaning, disappearance or teleportation of puddles. Reflections should combine the fixed colored cathedral lighting with wet liquid sheen and surface depth.
## 16. STRICT COLOR-COVERAGE DEVELOPMENT
**Early (1–2):** Mostly visible deep violet gown, bright green hands and orange flowing hair. Only first hanging drops, streaks and tiny puddles, face generally clear.
**Developing (3–4):** More green running across violet fluid, orange strand contact, early dark marbling, a few streaks on body and legs, larger floor deposits.
**Advanced (5–6):** Noticeable cumulative three-pigment interaction, orange and green trails across gown, some streaks on skin, high-energy fluid sheets, more reflective puddles.
**Final (7–8):** Extensive marbled fluid on gown, hair, some face and exposed legs, complex but physically connected splashes and larger floor pools. The violet base gown, green hand regions, orange fluid hair and recognizable Digimone20 face must remain identifiable.
## 17. DRESS, SHOE AND LOCATION CONTINUITY TEST
Before accepting each frame, verify:
1. It still depicts Digimone20, reconstructed from all four original portraits.
2. The precise cathedral, central rosette, spiral columns, perspective and original lighting are unchanged.
3. The output is horizontal 16:9 with the entire head, hands, legs and both shoes included.
4. The violet liquid gown has the same neckline, sleeve length, waist, length, shape and base color as image 1.
5. Both seamless green liquid glove regions merge into the sleeves without cuffs or hard boundaries.
6. Orange liquid hair remains open, plausible in length and attached to the original hairline.
7. Both deep-violet ballet shoes retain the exact closed rounded toe, pair of crossed instep straps and single ankle strap from image 1.
8. The pose is a new technically plausible ballet action with greater energy than the preceding image.
9. Pigment on gown, skin, hair and floor reflects all previous accumulation and additional splashes.
10. Natural-looking five-finger hands and a fully recognizable genuine face remain visible.
If an image fails critical identity, architecture, shoe, anatomy or dress continuity, selectively regenerate that frame against the same original references and design locks; do not silently accept the inconsistency.
## 18. ANATOMICAL ACCURACY — MANDATORY
Exactly one head, two arms, two hands, two legs, two feet and **five fingers per hand including one thumb**. No fused, hidden duplicate or surplus fingers; no extra feet, limbs, joints, twisted wrists or impossible foot placement. Keep physically believable support, balance, joint angles and foot pointing for every ballet pose. Liquid gloves must still follow a correct hand beneath their surface. Ensure ballet shoes visibly fit real feet and remain anatomically connected in jumps and turns. Never crop a hand or shoe to conceal an error.
## 19. EXTREME PHOTOGRAPHIC REALISM — QUALITY CONTROL
Render the scene as if photographed by an experienced professional fashion and dance photographer using excellent optics, a modern large sensor, controlled colored stage light and sufficient fill for truthful face detail. Preserve natural pores, microtexture, lashes, small asymmetries, true optical depth, realistic highlights and reflections, genuine body weight and believable posture. Make fluid look like real heavy pigmented liquid, not glossy cloth or hard plastic. Keep the highly detailed cathedral visible without looking painted, airbrushed, illustrated or synthetic. Sharp edges must remain optical rather than overprocessed.
- No blown highlights, including glowing cathedral elements and liquid specular reflections.
- No blocked shadows or loss of facial detail.
- No false soft-focus glamour retouching or smoothing.
- No artificial motion smear, excess bloom or oversharpening.
- No inconsistent identity between frames.
- No changes to the established ballet shoes.
- No written text, subtitles, logos, signatures, watermarks or collage borders.
Produce the highest **native** resolution supported by the image-generation service. Save each frame as a distinct lossless PNG. Use PNG's lossless output; when packaging, store image files in the ZIP **without additional ZIP compression** (ZIP store mode). Do not falsely imply that PNG encoder compression settings change image detail; PNG decoding is lossless.
## 20. SEQUENCE GENERATION WORKFLOW
For **each frame individually**:
1. Supply all four original Digimone20 portrait photographs again.
2. Supply the original empty cathedral photograph again.
3. Reconstruct the face from the originals, not from previous AI-generated faces.
4. Recreate the unchanged cathedral setting and lighting from its original image.
5. Use the locked first-frame gown and precise textual ballet-shoe specification.
6. Keep her opened orange fluid hair and fused green-to-violet liquid arm surfaces.
7. Select exactly the matching numbered dance stage above.
8. Accumulate additional connected pigment streaks, airborne droplets and floor puddles consistent with previous events.
9. Check believable liquid motion, anatomy, five fingers per hand and full-body inclusion.
10. Export one individual horizontal 16:9 PNG with a numbered filename.
Repeat this independently for all eight frames. Never assemble eight frames into one image. Suggested filenames: `Tanz_Extraterrestrisch_01.png` through `Tanz_Extraterrestrisch_08.png`.
## 21. FINAL GENERATION DIRECTIVE
**Generate eight separate extremely photorealistic horizontal 16:9 full-body ballet photographs of the actual adult woman Digimone20, preserving her identity from her four original portrait references afresh in every generation. Reuse the exact original empty extraterrestrial cathedral as an immutable architectural and lighting reference in every frame. Open her low bun into realistic shoulder-length orange flowing liquid hair. Dress her in one identical completely opaque deep-violet 100%-liquid floor-length gown with full-length sleeves and seamlessly fused vivid-green liquid gloves. Fix precisely the same closed rounded-toe violet ballet slippers with two crossed instep straps and one ankle strap from image 1 through image 8. Follow the specified eight-stage increasingly vigorous ballet choreography, progressively blending the violet dress fluid, green glove fluid and orange hair fluid, preserving coherent liquid trajectories and accumulating colored pools on the reflective floor. Maintain truthful natural face and skin, anatomical precision, five fingers per hand, balanced exposure, deep sharp focus and complete head-to-shoes framing. The result should look like genuine professional photographs of an extraordinary liquid-fashion performance rather than synthetic CGI.**
---
**Canonical title:** TANZ EXTRATERRESTRISCH
**Reference person:** DIGIMONE20
**Eight individual images · Landscape 16:9 · Orange liquid hair · Violet liquid gown · Seamlessly fused green liquid gloves · Fixed violet ballet shoes · Fixed cathedral.**
Wispy clouds reflect the pink light of the already-set sun near the village of Le Bolle in the Chianti region of Tuscany.
After spending the afternoon driving around the Chianti region of Tuscany, I had packed up my gear as the sun dipped below the mountains and stopped bathing the countryside in gorgeous golden light. But, I had noticed the shape and structure of the clouds, and kept an eye on them (as much as I could while keeping an eye on Italian drivers) to see if they'd catch good light as the sun dropped below the horizon.
They did.
In hindsight, I wish I'd gotten more sky in this image. While the ground definitely makes a good anchor, the star here is the clouds. I wanted more, both when witnessing them and in editing this image.
(Production notes: I had to go HDR with this one, as I'd forgotten my grad ND filter. At the risk of sounding like a shill, I can't say enough about Nik's HDR Efex Pro for making it easy to make HDR that doesn't look like typical crappy overprocessed HDR. Some additional tweaking in Photoshop was needed to draw out what I saw with my eye, but overall this isn't heavily processed beyond combining five exposures.)
adam alexander senior pics...all of the edits - if there is an action name in the file name it's a my four hens photography action :D
i don't like processed/overprocessed photos - but he does.
#Raphadramatic snaps from the Leicester Forest Cycling Club's annual road race in September 2014.
Please don't pinch my pictures. If you'd like to use them, then let me know. I probably won't charge, but it's nice to be nice, right?
My main Flickr stream, that has less pictures of men in lycra, is here: www.flickr.com/photos/placid_casual/
Sometimes I edit the hell out of myself simply because I can.
TRF: It's been a long ass day. Tonight we went to a dinner at the Alumni Center honoring all the recipients of the Dean's Award. All 7 of us were introduced and presented with our medals. And I was seated next to the president of the university at dinner, so maybe I really am a serious candidate for the president's medallion? We shall see...
Slightly overprocessed version of Saturn-07-crop, to correct the color and smooth the details. Same specs as before, but using 30% color dodge followed by 70% smoothing.
Scope and mount supplied by 3RF (see www.3rf.org).