A cinematic luxury fragrance campaign photograph of the person shown in @image_1 — keep their face, hair, skin tone and identity exactly as in the reference, the same person photographed into this scene. An overhead flat-lay looking straight down. They lie on their back on a deep forest-green velvet ground, the face filling the lower half of frame with the lips at the bottom edge, the bottle lying on its side just above the cheekbone in the upper-left quadrant, front face up at the lens, the amber liquid settled along its lower length. A single white tulip on a dark green stem lies diagonally from upper-right to lower-left, its pale-jade petal tips nearly grazing the bottle's neck, the stem crossing the collarbone. Damp waves fan out across the velvet above the head in slow heavy curves. Eyes closed, lashes on the cheekbone, expression still and sovereign. A warm tungsten pool from above camera-right warms the face, the bottle and the tulip head; everything else falls to green-shadow. The product carried in frame is the exact product shown in @image_2 — keep its bottle shape, proportions, glass, cap, collar, colour and any branding precisely as in that reference, the same physical item photographed into this scene, never a substitute or a redesign. The setting is a deep moody forest-green chamber so saturated it reads near-black — velvet-matte, no visible texture, only depth, falling to true black at the corners. Palette locked absolute: deep forest-green near-black, warm amber liquid, warm amber lit skin, cool green-shadow skin — no blue, no pink, no red, no neutral grey, no pure white beyond a thin specular edge on the glass. Single-source warm tungsten only — no fill, no rim, no second source — with sharp falloff into the green dark. Skin is dewy but never plastic: full pore map, fine baby hairs catching the light, individual brow and lash hairs, matte lip texture with a naturally chapped centre, warm amber subsurface scatter on the lit side and cool green in shadow, no airbrushing. Phase One medium format, Kodak Portra 800 pushed one stop, heavy analog grain, matte finish, severely underexposed shadows. Photographic realism — shot, not rendered. No studio equipment, no light stands, no reflectors, no text, no overlays, no borders.
