The AI Photo Lab

Re-render the supplied reference image at maximum resolution as a faithful photographic upscale. This is a detail-recovery task, not a re-imagining: identity, facial geometry, apparent age, expression, gaze direction, pose, hand position, framing, crop and camera perspective must all be reproduced exactly. Reconstruct genuine micro-detail — individual hair strands, eyelashes, skin pores, fabric weave and stitching, printed text, wood grain, brushed metal — as it would have been recorded by a full-frame sensor at the same focal length. Eliminate JPEG blocking, colour banding, chroma noise and upscaling halos. Keep the original white balance, colour response, contrast curve and shadow depth; the only thing that changes is clarity and dynamic range. Do not relight, do not restyle, do not beautify, do not slim or reshape any feature, do not add makeup, jewellery, teeth or catchlights that are not already there. Do not invent detail in areas that are genuinely out of focus — leave the natural depth of field intact. Skin must stay skin: no wax, no gloss, no airbrushing. Avoid: warped hands, extra fingers, drifting facial likeness, duplicated background objects, added text or watermarks, painterly rendering, HDR crunch, over-sharpened edge halos.

Retouch the supplied portrait to a high-end editorial standard while keeping the edit invisible. Remove only temporary features: active blemishes, transient redness, oily shine, dust and sensor spots, stray lint on clothing. Keep everything permanent — freckles, moles, scars, laugh lines, under-eye structure, skin texture and pores must all survive at full strength. Even out blotchy tone by reducing colour variance, never by flattening luminosity; the natural highlight-to-shadow transition across the cheek, nose and jaw must stay intact. Preserve micro-contrast so the skin still reads as a surface with grain. Do not reshape the nose, jaw, eyes, lips or body. Do not whiten teeth or eyes beyond a subtle clean-up. Do not add makeup, glow, bloom or a beauty filter. Do not alter hair colour, hairline, clothing or background. Keep the original lighting direction, colour temperature and depth of field exactly. The result should look like the same photograph taken on a better day — someone comparing the two should not be able to say what was changed.

Restore the supplied scanned photograph as a careful archival conservation, not a re-creation. Repair the physical damage: fill tears, creases, emulsion cracks, missing corners, water stains, mould spotting and scanner dust by reconstructing what the surrounding image logically continues into. Where damage crosses a face, rebuild only what anatomy makes unambiguous, and keep that reconstruction conservative. Correct fading and colour cast, recover shadow and highlight detail, and re-establish neutral greys. If the source is black and white, add historically plausible colour: period-accurate clothing dyes, muted natural fabrics, believable skin undertones matched to the visible lighting, era-appropriate paint and vehicle colours, natural foliage and sky. All colour must be restrained and slightly desaturated, like a well-preserved period print — never modern, saturated or digital. Preserve the original film grain structure, lens softness and depth of field of the era. Do not modernise faces, do not change expressions, apparent ages, hairstyles, clothing or the number of people present, do not sharpen into artificial crispness, and do not add objects, text or borders that were not in the frame.

Isolate the main subject of the reference image and place it on [DESCRIBE THE NEW BACKGROUND IN ONE SENTENCE]. Cut the subject with true edge accuracy: individual hair strands, fur, fabric fuzz and every semi-transparent area — glass, lenses, veils, liquid, smoke — must carry across with their transparency preserved rather than filled in. No white or dark halo, no rubbery outline, no missing contact shadow. Re-light the subject so it belongs in the new scene: match the new background's light direction, colour temperature, intensity and softness onto the subject, cast a physically correct contact shadow and ambient occlusion where it meets the surface, and add a matching reflection if that surface is reflective. Keep the subject's own shape, proportions, colour identity, texture and detail completely unchanged — only the light falling on it changes. Render the background at a depth of field consistent with the subject's apparent focal length. Avoid: floating subjects, hard pasted-on edges, shadow direction that disagrees with the light, duplicated limbs, cropped fingers, added text or logos.

Convert the supplied photo into a professional headshot as a commercial portrait studio would shoot it. Keep the person's face, hairstyle, glasses, facial hair, clothing and accessories exactly as they appear in the reference — this is a change of lighting and framing, not a makeover. Reframe to a head-and-shoulders crop: subject centred, chin level, shoulders turned slightly off-axis, eyes to camera, expression relaxed and confident with a trace of a smile. Render as if shot on an 85mm lens at f/2.8 from eye height, with sharp focus on the near eye and ears and shoulders falling gently soft. Light with a large softbox key just above eye level and slightly to one side, a white fill card opposite to keep the shadow side open, and a subtle hair light for separation from the background. Two clean catchlights in the eyes, a soft shadow under the jaw, no hotspot on the forehead or nose. Background: seamless mid-grey studio paper with a soft gradient falloff — no texture, no props, no visible edges or corners. Grade the colour neutrally and accurately: true skin tones, controlled contrast, no teal-and-orange styling. Retouch to magazine standard but keep pores, fine lines and freckles visible. The output should pass as a genuine studio capture.

Re-light the supplied image as a high-key studio portrait against a blown-out white background. Place a powerful, lightly diffused source directly behind the subject so the background reads as pure clipped white and the light wraps around the silhouette as a bright rim along the shoulders, arms and hair. Let a controlled amount of that backlight bloom into the frame as soft atmospheric haze, heaviest close to the subject's edges. Keep the front of the subject noticeably darker than the background for depth, lit only by a soft low-intensity fill so that form, muscle definition, fabric folds and texture all stay readable rather than falling into silhouette. Increase overall contrast and deepen the shadow side. Preserve the subject's identity, pose, clothing and proportions exactly. Skin stays matte and textured — no gloss, no oil sheen, no plastic. Remove every element of the original background. Photorealistic, high resolution, editorial lighting.

Re-photograph the product in the reference image as a commercial hero shot for an online store. The product's shape, proportions, colour, material, labelling and every word of printed text must be reproduced exactly as they appear in the reference — do not redesign, re-letter or "improve" the packaging. Stage it on [SURFACE — e.g. a warm oak worktop / a matte concrete slab / a seamless off-white sweep], shot slightly above eye level on a 100mm macro lens at f/8 so the entire product is sharp front to back. Light with a large overhead softbox plus a narrow strip light down one side to define the edge, and a subtle bounce card to open the shadow at the front. Render a true contact shadow directly beneath the product plus a soft ambient shadow around it, correct specular behaviour for the actual material — matte card absorbs, glass refracts and carries a bright edge highlight, metal shows a gradient reflection — and physically plausible reflections of the surroundings. Colour-accurate, neutral white balance, clean commercial grade. Compose with generous negative space above the product for a headline. Avoid: warped or invented text, altered logo shapes, a floating product, doubled or contradictory shadows, background clutter, props that were not requested, wide-angle distortion.

Apply the supplied artwork onto [PRODUCT — e.g. a heavyweight cream cotton t-shirt / an 11oz white ceramic mug / a framed A2 poster on a plastered wall] as a realistic product mockup. The artwork must be reproduced exactly: same colours, same proportions, same crop, same typography — nothing redrawn, re-lettered or re-coloured. Wrap it onto the object with correct geometry, following the curvature of the surface, the drape and folds of the fabric, and the perspective of the frame, and let the print take on the material underneath so that weave texture, ceramic sheen or paper tooth shows faintly through the ink. Print edges should be very slightly soft, the way real screen or direct-to-garment printing is, never a hard digital paste. Light the scene naturally with soft window light from one side, cast a correct shadow, and keep the object in a clean, neutral, uncluttered setting shot at f/4 so the background falls gently out of focus. Photorealistic commercial product photography, colour-accurate. No added logos, no text on the product other than the supplied artwork, no warped or re-rendered lettering.

Rebuild the entire reference scene as a real-time render from a modern open-world sandbox video game, captured as an in-game screenshot on a high-end PC at maximum settings. This is a full 3D reconstruction, not a filter: every person, vehicle, building, prop and surface must be rebuilt as game-engine geometry with visible polygonal structure, baked normal maps, tiling textures and optimised level-of-detail. Characters take slightly exaggerated, stylised proportions with rigid, sculpted features; skin is matte with no photographic pores; hair is built from clumped card geometry; clothing uses flat fabric shaders with visible seams and repeating texture. Architecture is modular with crisp edges, and roads, kerbs, street furniture and vegetation are dense but simplified and clearly asset-built. Lighting is real-time: one strong directional sun, hard-edged shadows, ambient occlusion in the corners, imperfect screen-space reflections, none of the softness of a ray-traced render. Grade the image with punchy contrast and lightly boosted saturation. The camera is a third-person gameplay or free-camera view with mild wide-angle distortion and stable framing — no depth of field, no motion blur, no lens flare, no photographic grain. Keep the original composition, subject placement and pose. The result must read unmistakably as a video game and never as a photograph. No HUD, no interface elements, no text, no watermarks.

Keep the human subject from the reference image fully photorealistic and completely untouched — same face, pores, hair strands, clothing texture, expression, pose and body lighting. Apply no stylisation, no pixelation and no relighting to the person whatsoever. Rebuild everything else in the frame as a blocky voxel world constructed from uniform cubes, matching the original location's structure exactly rather than reinventing it. Reproduce the real layout, spacing, depth and geometry: a path keeps its exact curve and width in gravel-toned blocks; trees keep their trunk positions, heights and canopy spread in trunk and leaf blocks; buildings keep their silhouette, window placement and roof pitch in block geometry; benches, fences, rocks and signs become cube-built equivalents in the same positions and at the same scale relative to the subject. The horizon line, camera height, focal length, framing and subject scale must match the source photo precisely. Anything the subject touches, holds, sits on or stands on converts to voxel form at the correct scale for their hands and body, with correct contact shadows so they are grounded in the scene rather than pasted onto it. Voxel surfaces use flat, low-resolution square textures with a visible pixel grid and no smoothing or bevelling. Light the blocks from the same direction and at the same intensity as the original photo. The location must stay instantly recognisable from its composition alone.

Keep the human subject from the reference image fully photorealistic and completely untouched — same face, pores, hair strands, clothing texture, expression, pose and body lighting, with no stylisation and no relighting applied to the person. Rebuild everything else in the frame as a structurally accurate replica assembled from moulded plastic construction bricks, matching the original location exactly rather than reinventing it. Reproduce the real layout, spacing, depth and geometry: a path keeps its exact curve and width in tile and plate construction; trees keep their trunk positions, height ratios and canopy spread using brick-built trunks and layered foliage elements; buildings keep their silhouette, window placement and roof angle in authentic brick geometry and proportions; rocks, benches, fences and signs become brick-built equivalents in the same positions and at the same relative scale. Perspective must match the original photograph exactly — horizon line, camera height, focal distance, framing and subject scale all identical. Anything physically touching the subject converts to brick logic: an animal becomes a moulded figure, a held object becomes a brick-built version correctly scaled to the hand. Render the plastic honestly: visible studs and tube undersides, mould seam lines, injection sprue marks, faint surface scuffs, and the specific semi-glossy specular response of ABS plastic. Light it as real daylight interacting with plastic, matching the direction and intensity of the original photo, with soft shadow falloff and subtle environmental reflections. Maintain recognisable background identity — the location should be identifiable from composition alone, simply rebuilt in brick. High-resolution, cinematic realism. No interface, no text, no overlays.

Redraw the reference image as a single frame from a high-budget hand-drawn anime feature film. This is an adaptation, not a new scene: composition, camera angle, focal length, crop, perspective, pose, gesture, gaze direction, subject placement, clothing layout and background structure must all match the reference exactly. Translate each person into an anime character who remains recognisably themselves — keep facial structure, apparent age, skin tone, hairstyle, hair colour, build and expression. Eyes are stylised but proportioned to the real face and pointed in the same direction; do not use oversized generic anime eyes. Simplify the nose and mouth in the anime idiom while preserving the likeness. Draw with clean, confident 2D linework of varying weight, accurate anatomy and a clear silhouette. Shade skin and fabric with soft cel shading in two to three tones, gentle gradients and highlights that follow the original light direction. Hair becomes defined strand groups that keep the original volume and flow. Clothing, props and accessories keep their real shapes, colours, logos and material weight. The background becomes a painted anime environment with the same depth, perspective, time of day and atmosphere as the reference. Final quality: theatrical anime production, crisp, richly coloured, film-still framing. Avoid: 3D or CGI rendering, western comic or cartoon style, oil or watercolour painting, semi-realistic digital painting, glossy AI sheen, smoothed plastic faces, changed identity, changed pose or crop, distorted hands, extra fingers, empty or simplified backgrounds, messy linework.

Recreate the reference scene as a frame from a hand-made stop-motion film shot on a physical miniature set. Everything must read as a real object built by hand and photographed with a macro lens. Characters are sculpted from modelling clay over wire armatures, with visible fingerprint texture, thumb-smoothed surfaces, faint tool marks, slight asymmetry and a soft matte sheen. Hair and fur are sculpted or felted, never rendered. Clothing is real fabric at miniature scale, so the weave looks oversized and the folds sit stiffly. Sets are built from card, foam, wood and painted plaster with visible seams, brush strokes and traces of glue. Keep the original composition, pose, expression and character likeness clearly recognisable through the clay. Light the set with small practical lamps: a warm key from one side, a cool fill opposite, hard shadow edges, and a shallow depth of field with the pronounced macro falloff that makes the scale of the miniature obvious. A little dust hangs in the air. This is a photograph of a physical model — not a 3D render, not a cartoon, not a digital painting. No perfect symmetry, no glossy CGI plastic, no text.

Turn the reference image into a gallery-grade abstract artwork built around an untouched subject. The main subject stays completely sharp, correctly lit and instantly recognisable — same identity, silhouette, colours and position in frame. From the subject's edges outward, dissolve the rest of the image into long ribbons of stretched pixels that pull the photograph's own colours and textures into smooth, sweeping curves, as though the image were being drawn out into flowing streams of light and paint. Transitions from photograph to stretch must be seamless, with no visible seam, no glitch blocks, no banding, no broken pixels and no hard edges. The flow should follow a deliberate composition — one dominant sweep with secondary counter-curves — rather than a random smear, and should leave clean negative space so the subject reads clearly. Preserve realistic depth, shadow and reflection where the stretch meets the subject. Take the entire colour palette strictly from the source image; introduce no new hues. Style: liquid motion blur, light-trail streaks, silky flowing energy, minimalist premium poster art, ultra-high resolution.

Generate an unposed phone selfie of the people from the supplied reference images standing together, as though one of them is holding the phone. Faces must match the references closely — same bone structure, skin tone, hair and apparent age. Hold the camera at arm's length, tilted slightly up and off-axis, so the framing is a little crooked and one person sits closer to the lens than the other, with the mild wide-angle distortion that comes from that proximity. Both lean in shoulder to shoulder, relaxed, looking at the lens with easy half-smiles. Light it like a real indoor snapshot: mixed room light plus a direct phone flash that slightly blows out the nearest forehead and cheek, with a hard shadow thrown onto the wall behind. Keep every imperfection — visible pores, uneven skin tone, stray hairs, creased clothing, a shiny nose, faint sensor noise in the shadows, mildly incorrect white balance, a hint of motion blur toward the edges. The background is an ordinary everyday interior, cluttered in a normal way and slightly out of focus. Nothing about the image should look composed, retouched or professionally lit. A straight-out-of-camera phone photo: no filter, no beauty smoothing, no portrait-mode bokeh.