Image Generation

Act as a Photo Pose Transformation Editor. You are an AI specialized in transforming the pose of individuals in selfies. Your task is to edit uploaded selfies to change the subject's pose into various positions such as standing, leaning on something, laying down, kneeling, looking over the shoulder, walking toward the viewer, or a shy pose. You will:
- Analyze the uploaded selfie image
- Modify the pose while maintaining the natural look and feel
- Ensure the background and lighting remain consistent with the new pose
Rules:
- Maintain the quality and resolution of the original image
- Preserve facial expressions and details
- Provide options for different poses as requested by the userFemboy bedroomSoft smile

Act as a professional image creator. You are an expert in generating high-quality, impactful images suitable for printing and sales.

Your task is to:
- Create visually stunning images that are ready for print.
- Ensure each image is impactful and appealing for sales.
- Focus on themes such as product promotion, modern.

You will:
- Use high-resolution and color-accurate techniques to ensure print quality.
- Tailor images to be engaging and marketable.

Rules:
- Maintain print resolution of at least 300 DPI.
- Avoid overly complex designs that detract from the image focus.

A blonde woman in a dreamy, ethereal photographic scene with light effects and surreal elements.

Close-up black and white portrait of a man and a woman standing side by side. The man has tousled hair and a rough beard, the woman has softly tousled natural hair. Both tilt their heads slightly upward as dramatic overhead light falls on them. Their eyes remain in shadow, creating a powerful, mysterious, silhouette-like mood with strong contrast. 9:16 composition, intimate dual-portrait framing.

Create a photo capturing a man in Istanbul, using the following customizable variables:

- **Location**: Include iconic Istanbul locations such as Galata Tower, Blue Mosque, or Bosphorus.
- **Time of Day**: Capture the scene during sunrise, noon, or sunset to create different atmospheric moods.
- **Attire**: Dress the man in casual, business, or traditional clothing to reflect various styles.
- **Activity**: The man could be walking, sitting, or looking out over the city to convey different narratives.

Use these variables to craft a unique photographic scene that reflects the vibrant culture and diverse atmosphere of Istanbul.

Full-body cinematic shot of a sophisticated man in his early 30s walking confidently down a historic cobblestone street in Istanbul, Beyoğlu. He features a short beard and dark hair. He is wearing a tailored navy blue wool overcoat, a charcoal grey turtleneck sweater, and black trousers. He is holding a premium brown leather briefcase in one hand and a takeaway coffee cup in the other. He is wearing brown leather Chelsea boots and stylish sunglasses. The background prominently features the iconic Galata Tower rising at the end of the street. Soft natural daylight, high-end fashion photography, realistic anatomical proportions, 8k resolution, highly detailed textures. --ar 9:16

Ultra-realistic amateur street photo of the same 27-year-old Turkish-looking curvy woman in Ankara, soft slightly chubby figure, blonde hair loose, tight white tank top, patterned high-waisted pants, small crossbody bag. She’s walking down the street, glancing over her shoulder at a yellow taxi completely filled with fluffy cats climbing around inside and pressing their faces to the windows.
Behind her, large road signs point to Eskişehir and Kızılay. More yellow taxis, some normal, some with cats poking their heads out of partially open windows. Old apartment buildings with balconies and pedestrians in darker jackets walking ahead, pretending everything is normal.
Turkish brands in the background: distant Migros sign, Şok sign over a tiny side market, Turkcell shop with its blue logo partly visible, small Ülker and Eti snack billboards. All slightly out of focus but readable.
Shot on a regular iPhone by someone walking a few steps behind her, handheld, slightly shaky, vertical framing, she’s off-center, one cat-filled taxi cut off on the edge of the frame. Automatic exposure, slightly blown-out sky, no studio lighting, normal afternoon daylight.
Photo quality feels like a quick phone snapshot: motion blur on some cats, slight blur on pedestrians and cars, digital noise in the shadows, lens flare, unedited colors, natural skin texture with pores and small imperfections. Everyday Ankara chaos but with absurd cat-filled taxis.

Ultra-realistic amateur street photo of a 27-year-old Turkish-looking curvy woman walking alone in the middle of a busy Ankara street, soft slightly chubby figure, blonde hair loose around her shoulders, wearing a tight white tank top and patterned high-waisted pants that show her curves, small crossbody bag hanging at her side. She walks toward the camera with a calm, almost bored expression.

Behind her, a chaotic Ankara environment: large white road signs pointing to “Eskişehir” and “Kızılay,” yellow taxis jammed in traffic, old apartment buildings with balconies on both sides of the street, pedestrians in darker jackets walking ahead of her or standing on the sidewalks. It feels like a typical slightly chaotic Turkish traffic scene.

Absurd twist: towering in the distance behind her is a gigantic döner kebab kaiju, made of layers of meat and bread stacked like a skyscraper, slowly rotating on an impossibly huge vertical skewer. The döner monster looms over the buildings, its top disappearing into the hazy sky. Tiny cartoonish firefighters at its base spray jets of white yogurt sauce at it from miniature fire hoses. Yellow taxis are stuck in a ring around the base of the döner kaiju, some drivers leaning out of their windows filming the monster with their phones.

Turkish brands appear naturally in the environment: a distant orange Migros supermarket sign stuck on one apartment block, a bright yellow Şok sign over a tiny side-market entrance, a Turkcell shop on the ground floor with its blue logo partly visible behind some pedestrians, and small Ülker and Eti snack billboards on the sides of buildings and on a bus stop. All of the brand signs are slightly out of focus but still readable enough to feel authentically Turkish and grounded in Ankara.

Shot on a regular iPhone by someone walking a few steps behind her: handheld, slightly shaky, vertical framing. She is not centered in the frame; she is placed a little to one side, and part of a yellow taxi and part of the huge döner kaiju are cut off at the edge of the image, as if the photographer couldn’t perfectly frame everything in time. Automatic exposure with a slightly blown-out pale sky at the top of the frame, no studio lighting, just normal soft afternoon daylight.

The photo quality feels like a quick phone snapshot: slight motion blur on the moving pedestrians, cars, and the spinning döner monster; digital noise in the shadow areas under balconies and under the monster; a mild lens flare from the sun hitting the phone lens at an angle; unedited, slightly imperfect colors; natural skin texture with pores and small imperfections visible on the woman’s face and arms. Casual but surreal body language, with a completely realistic everyday Ankara street transformed by the ridiculously huge döner kaiju, clearly not a professional camera or staged studio shoot.

Ultra-realistic amateur street photo of a 27-year-old Turkish-looking curvy woman walking in the middle of a busy Ankara street, soft slightly chubby figure, blonde hair loose around her shoulders, wearing a tight white tank top, patterned high-waisted pants that emphasize her curves, and a small crossbody bag. She walks forward with a focused, neutral expression, looking past the camera.

The absurd twist: the entire street is filled with multiple clones of the same woman in different outfits and roles. Some clones wear a floral dress, some wear gym clothes, one clone wears pajamas and slippers, one wears a business blazer over jeans, another is in a long coat and scarf. They all clearly have the same face, same blonde hair, same body type, just different clothing and poses, as if someone copy-pasted her all over Ankara in slightly different versions.

These clones are doing ordinary things: one clone is arguing with a yellow taxi driver through the window, one is carrying an oversized orange Migros shopping bag, another is taking a selfie underneath the road sign for “Kızılay,” one is eating a simit while walking, another is leaning on a balcony railing looking down at the street. The “main” woman in the white tank top is the closest to the camera, walking straight ahead, ignoring all of her clones.

In the background, the usual Ankara details: large road signs pointing to “Eskişehir” and “Kızılay,” yellow taxis in traffic, old grayish apartment buildings with balconies, pedestrians and several clones in darker jackets. A distant Migros supermarket sign is mounted on a building, a bright Şok sign hangs over a small side-market doorway, a Turkcell shop with its blue logo is partly visible among other storefronts, and small Ülker and Eti snack ads are pasted on bus stops and walls. These brand elements are slightly blurred by depth of field but still readable enough to feel authentically Turkish.

Shot on a regular iPhone from a few steps behind the main woman, handheld, slightly shaky, vertical framing. She is imperfectly framed, slightly off-center, part of a taxi and part of one clone are cut off along the edge. Automatic exposure with a slightly overexposed sky, no studio lighting, just normal pale afternoon daylight.

The image quality is that of a candid phone snapshot: slight motion blur on walking clones and moving taxis, digital noise in the shadowy areas between buildings, subtle lens flare near the top of the frame, unedited colors, natural skin texture with pores and minor imperfections on all versions of the woman. The scene feels like a realistic everyday Ankara street but glitched, with dozens of variations of the same woman scattered throughout it.

Ultra-realistic amateur night photo, vertical iPhone framing, handheld and slightly shaky, showing a cozy small bedroom in Ankara just before sleep, perfect for an “iyi geceler” tweet. The camera is a bit above and behind a 27-year-old Turkish-looking woman with a soft, slightly chubby figure and blonde hair tied in a loose messy bun. She is sitting sideways on an unmade bed with light-colored sheets and a simple patterned blanket, wearing an oversized white t-shirt that covers her thighs like a night shirt, casual and non-sexual, bare legs loosely folded.

The main light source is the soft bluish glow of her phone screen in her hands, illuminating her face and hands while the rest of the room is in warm dim light from a tiny bedside lamp. On the phone you can’t clearly read text, but it is obvious she is about to send a tweet; the Twitter-style interface is just barely recognizable as blue-and-white shapes, out of focus and not legible.

The background shows a typical Turkish apartment bedroom: a small wooden nightstand with a half-finished glass of water, a pair of simple wired earphones, and a cheap alarm clock glowing in a faint green. On the wall is a cheap hanging kilim or small decorative rug. Through a slightly open window you can see blurred orange-yellow city lights of Ankara at night, with silhouettes of old apartment blocks and faint outlines of balconies. In the distance, a small out-of-focus Migros sign glows on a building, and a faint neon Turkcell logo is visible on a shop far below, adding subtle Turkish context without dominating the scene.

Vertical composition with the woman slightly off-center, part of the bed and nightstand cropped at the edges, emphasizing the candid, imperfect framing. There is very slight motion blur on one of her hands as if she just tapped the screen, and fine digital noise in the dark corners of the room, giving the true smartphone low-light snapshot feeling. Colors are unedited and natural: warm yellow from the lamp contrasting with cool blue from the phone. The woman’s skin shows natural texture, pores, and small imperfections, making her look like a real person, not a model. The whole mise-en-scène should feel like a quiet, intimate “iyi geceler” moment in a real Ankara bedroom captured on a regular phone.

Ultra-realistic amateur night photo, vertical phone snapshot from inside a small Ankara apartment, looking toward a window and catching the vibe of an “iyi geceler” tweet. The camera is low and slightly tilted, as if the photo was taken by someone lying or sitting on a couch. In the foreground, the armrest of a worn fabric sofa and a soft blanket are visible, slightly out of focus.

In the mid-ground, a 27-year-old Turkish-looking woman with a soft, slightly chubby figure stands near the window, back partially turned to the camera, phone in one hand at chest level, the other hand resting lightly on the window frame. She wears comfy, non-revealing home clothes: an oversized pastel sweatshirt and loose pajama pants with a simple pattern. Her blonde hair falls loosely down her back. You can’t read the phone screen; it only casts a subtle blue glow on her face and hand, suggesting she has just posted a tweet.

Outside the window, the street is lit by a bright sodium-orange streetlamp, giving the buildings and parked cars a warm glow. A single yellow taxi is parked near the curb, slightly blurred. Across the street is an old apartment building with balconies, some windows dark and a few still lit. A small ground-floor Migros Jet or Şok market sign is visible, glowing softly, and a distant blue Turkcell shop sign and a tiny Ülker billboard are out of focus further down the street.

Inside the room, only a floor lamp with a warm bulb is on, casting a low, cozy light that contrasts with the cold bluish light from outside. Shadows pool in the corners of the room; there is some clutter like a stack of books, a mug on a coffee table, and a TV remote. Vertical framing is slightly off; the woman is closer to the right edge, part of the window frame is cut off, and a lamp shade intrudes at the top, making it feel like an honest, uncomposed phone shot.

There is visible high-ISO noise in the dark areas, slight motion blur on a car passing outside, and no strong color grading—just natural warm and cool lights mixing. The whole mise-en-scène should feel like a peaceful moment in a real Ankara apartment, seconds after quietly saying “iyi geceler” to the timeline.

Ultra-realistic, slightly comedic Turkish TV series still, vertical framing like a phone snapshot. Interior of a modest Ankara living room at night. Warm yellow light from a single ceiling fixture and an old lamp, no studio gloss. In the center, a 27-year-old Turkish-looking curvy woman with blonde hair, soft chubby figure, wearing an oversized cheap cartoon t-shirt as a nightdress (similar vibe to the Powerpuff Girls shirt) and fluffy house slippers. She is half lying, half sitting on an old patterned couch, blanket over her legs, phone in one hand, thumb hovering as she is about to post an “iyi geceler” tweet.

Around her on the same couch and nearby chairs, several older Turkish relatives and neighborhood aunties and uncles are watching a soap opera on a slightly outdated flat-screen TV. On the TV, a melodramatic scene is frozen mid-cry. One auntie is totally focused on the TV, another relative is already dozing off with mouth slightly open. A noisy samovar or çaydanlık sits on a low table, surrounded by many small Turkish tea glasses, sugar cubes, sunflower seed shells, and a bowl with Ülker and Eti snack wrappers.

The living room decor is unmistakably Turkish lower-middle-class: patterned carpet on the floor, lace curtains on the window, a wall calendar with a mosque photo, a framed religious calligraphy piece and maybe a cheap landscape painting. Out the window you can see blurred Ankara apartment blocks and a faint Migros sign in the distance. On a shelf, a Turkcell-branded modem with blinking lights and a stack of random remote controls.

The mood is cozy and a bit messy: cables visible, cushions not perfectly arranged, a plate with leftover börek on the coffee table. The woman’s expression is slightly ironic, like she’s tweeting “iyi geceler” to the timeline while the house is still loud. The camera angle is low and a bit crooked, as if someone took it quickly while standing in the doorway. Slight motion blur on one auntie gesturing toward the TV, natural skin texture and small imperfections on everyone, no beauty retouching. Colors are warm and natural, with visible digital noise in the darker corners to keep the phone-photo feeling.

Ultra-realistic, lightly comedic night scene in a small old-fashioned Turkish kitchen, vertical framing. Only two light sources: the open fridge casting a cold white light, and a dim yellow ceiling lamp. A 27-year-old Turkish-looking curvy blonde woman with a soft figure stands barefoot in front of the open fridge in cozy pyjamas: loose shorts with a silly pattern (maybe eggs or cats) and a slightly tight grey sleep t-shirt, hair messy from the day.

She holds her phone in one hand at chest level, screen lighting her face in a bluish tint, thumb mid-tap as she types an “iyi geceler” tweet while clearly preparing a completely unnecessary midnight snack. With her other hand she grabs a piece of leftover börek or a plate of sliced sucuk and cheese from the fridge. Her expression is a mix of guilty pleasure and “whatever, yarın diyete başlarım” energy.

The kitchen is cluttered and very Turkish: hanging dried peppers and eggplants on the wall, shelves full of spice jars and tea glasses, old patterned tiles as backsplash. On the small counter, there’s a simit on a plate, an empty tea glass, a jar of olives, a half-cut tomato on a wooden board, and a pink apron thrown over a chair (matching the earlier cooking scenes). A small wall calendar with a landscape, a fridge magnet from a holiday, and random notes are stuck to the fridge door. Some visible brands: a Migros plastic bag hanging on a cabinet handle, a Şok discount leaflet half crumpled on the table, a box of Ülker biscuits and Eti snacks in a corner, a tiny Turkcell modem with blinking lights on the kitchen shelf.

The vertical framing feels like a quick snap someone took from the doorway: she’s slightly off-center, the top of the fridge is cut off, and part of a chair intrudes into the frame. Slight motion blur on her hand reaching into the fridge, noticeable noise in the darker parts of the room, and a bit of lens flare or haze from the bright fridge light. No retouching on skin; you can see texture and small imperfections on her legs and arms. The whole mise-en-scène is the exact vibe of tweeting “iyi geceler” while absolutely not going to sleep yet.

Ultra-realistic Turkish dramedy still, vertical orientation, set in a slightly worn state hospital emergency waiting room at night. Fluorescent lights create a tired, greenish-white tone. Plastic chairs in rows, a water cooler in the corner, posters about “Acil Servis Kuralları” on the wall, and a digital ticket display showing red numbers. The floor is a bit scuffed, everything feels sterile but old.

In the middle row, a 27-year-old Turkish-looking curvy blonde woman sits slumped in the chair, wearing casual city clothes from earlier in the day: maybe a floral dress with a light jacket, sneakers, hair slightly messy. She looks exhausted but not in danger, just stuck in bureaucracy. Her phone is in her hands, tilted toward her, and she is typing with both thumbs—clearly sending an “iyi geceler” tweet to her followers even though the vibe is not cozy at all. Her face shows a mix of dark humor and boredom.

Around her, classic Turkish hospital characters: an old teyze in a headscarf holding a plastic hospital bag, a middle-aged amca dozing with his head against the wall, a young guy in a Galatasaray hoodie playing with his phone, a nurse wheeling a cart past the door. A vending machine in the background advertises Ülker chocolate and Eti snacks; a small TV in the corner shows muted news, the ticker mentioning Ankara or Kızılay. A notice board has a Şok discount flyer randomly pinned among medical papers. On the woman’s seat or nearby, a small orange Migros bag with water and crackers pokes out.

The shot feels like a quick, slightly forbidden phone snapshot: angle a bit low and tilted, part of a chair cut off, the edge of the frame clipping a stranger’s shoulder in the foreground. There is minor motion blur on the passing nurse, visible noise from the harsh indoor lighting, washed-out colors from the fluorescents, and unflattering, honest skin texture on everyone. The mise-en-scène sells the idea of a darkly funny “iyi geceler” tweet from the most unromantic location possible, still in the same universe as the rest of the series.

Ultra-realistic Turkish TV-series style night photo, vertical framing like a phone snapshot. Interior of a slightly cluttered Ankara living room during a football match on TV. Warm yellow ceiling light and the blue glow from the TV, no studio gloss. In the center of the frame, a 27-year-old Turkish-looking curvy blonde woman with a soft, slightly chubby figure is half-lying, half-sitting on an old patterned couch. She wears a slightly tight grey t-shirt and cotton shorts, or an oversized cartoon t-shirt as a nightdress, bare legs tucked under a blanket. Her hair is a bit messy from the day.

On the low coffee table in front of her: a couple of opened **Efes Pilsen 50 cl bottles** with blue-and-gold labels facing the camera, one half-drunk, one with condensation; an **Efes Draft barrel-shaped can** lying on its side; a bowl of chips, a plate with sliced sucuk and cheese, and some scattered Ülker and Eti snack wrappers. There are a few **Efes-branded coasters** under the bottles and a small blue **Efes Pilsen ashtray** with a single stubbed-out cigarette, giving strong bar-at-home energy without going overboard on drinking.

Around her on the couch and nearby chairs sit her older relatives and neighbors: one amca in a checked shirt yelling at the TV, another already dozing; an auntie in a floral headscarf holding a small tea glass; someone else holding a bottle of **Efes Malt** instead of tea. The TV in the background shows a blurry football match with a scoreboard in the corner, but no team logos need to be legible.

The woman is holding her phone with both hands, positioned just above the blanket, thumbs mid-typing. The screen is glowing bluish, clearly a social media app: she is about to post an “iyi geceler” tweet even though the room is still loud. Her expression is slightly ironic, like “iyi geceler ama ev susmuyor.”

The living-room decor is classic Turkish: patterned carpet on the floor, lace curtains, a wall calendar with a mosque photo, a framed calligraphy piece, and maybe a small scarf with a team logo hanging near the TV. In the corner, instead of any supermarket branding, there is a small **Efes Pilsen promotional poster** taped slightly crookedly to the wall and a stack of empty **Efes Pilsen crates** partly visible in a dark corner, as if leftovers from a house party.

The framing is imperfect and handheld: she’s a bit off-center, part of one uncle is cut off at the edge, the coffee table is slightly skewed. There is minor motion blur on the gesturing uncle and the flickering TV, plus visible digital noise in the darker corners and under furniture, keeping the phone-photo feeling. Colors are warm and natural, with the blue TV light and blue Efes labels popping subtly but not like an advertisement. Skin textures and small imperfections are clearly visible on everyone. The whole mise-en-scène feels like a realistic Ankara match night that ends with an “iyi geceler” tweet and a few Efes bottles on the table.