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. A high three-quarter shot looking down slightly. They cradle the bottle with both hands at the chest, fingers interlaced around it like an offering, its front face square to the lens, cap pointing up toward the chin. The head tilts forward, eyes closed, lashes on the cheekbone, expression sovereign and still. At the lower edge of frame a hammered brass tray holds three polished dark forest-green river stones stacked in a low pyramid and a single white tulip laid diagonally across it, the pale-jade petal nearly touching the base of the bottle. A warm tungsten pool from above camera-right lights the forehead, eyelids, nose bridge, the upper plane of the bottle, the brass tray, the stones and the petal; the corners fall to green-shadow. The brass catches a warm low specular along its rim. 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.
