Diwali Regal Close-Up

A single 4:5 portrait photograph, framed tight on the upper half of the face — top of the head just cut, chin barely included, the camera close enough that the lashes are individually resolved. The image must use the person from the uploaded photograph as its sole identity reference. Carry forward, with no edits whatsoever: the precise shape of the eyes including any slight asymmetry, the exact eye colour including the small variations within the iris, the nose bridge and tip, the philtrum, the natural lip shape and resting lip colour, the eyebrow shape including any sparse or thicker patches, the hairline at the temples, the skin tone, and any moles, beauty marks, freckles, faint acne scars, or small skin imperfections present in the upload. Render these visibly, do not retouch them. The point of this image is that *this* person, specifically, looks like a queen — not that a generic queen has been generated.

The setting suggested through bokeh only: she is in a traditional Indian home interior on the night of Diwali. Behind her — fully out of focus, painterly, but readable — a cluster of clay diyas at different depths, each one a small warm flame, the closer ones the size of soft-edged dots in the frame, the further ones tiny pinpoints. A string of marigolds blurred into a warm orange ribbon along the upper-right of the background. The background luminance is roughly two stops below her skin. There is no hard edge in the background — only warm light shapes.

Jewelry, all heirloom quality, all visible:
— A heavy maang tikka centred on the parting, with a small uncut polki stone at the centre and a delicate chain disappearing into the hairline.
— A nath (nose ring) on the left nostril, gold, with a small pearl drop catching the warm light.
— One earring visible in frame — a long temple-style jhumka in matte gold, the bell-shape of the lower part picking up a soft highlight.
— A high choker of antique gold with red enamel inlay just visible at the bottom of the frame.
The gold should look used — not polished to a mirror, but warm and slightly matte, with the patina of jewelry that has been in a velvet box for fifty years.

Wardrobe (only barely visible at frame bottom): the high collar of a maroon Banarasi blouse with gold zari work, suggested rather than detailed.

Hair: centre-parted, pulled back smooth, jasmine strand woven in at the right side — half a flower visible in the upper edge of the frame.

Makeup: kohl-lined eyes drawn slightly extended at the outer corner, the inner waterline darker than the outer. Bindi — a small red dot, dead centre, not a decorative cluster. Lips in a deep matte red-brown, the colour of an old book's cover, slightly worn at the corners where she has pressed them together. Skin not powdered to flatness — the natural sheen of the cheekbones preserved, the very faint flush at the apple of the cheek from being near the lamps.

Expression: the eyes are looking just slightly to the left of the camera — not at the lens, not far from it. Mouth closed, neither smiling nor stern. The expression of someone who has been the woman of the house for a long time and is, for one moment, alone in the doorway between rooms.

Light: a single primary source from frame-right at roughly cheek height — a warm 2200K source, like a brass standing lamp with cloth shade, throwing a soft directional warmth across the face. The fill is provided by the diyas themselves — a much softer, even warmer flicker from below at roughly waist height, putting a barely-perceptible warm bounce under the chin. The opposite side of the face (frame-left) falls into a deep amber shadow — not black, never black, but the colour of weak tea. No top light. No cold light anywhere in the frame.

Camera language: 100mm macro lens at f/2.8, shot on Sony A7R IV in raw, processed for warm filmic skin, with the colour profile of Kodak Vision3 500T after being graded warm. Focus plane: the catchlight in the eye closest to the light source. Mild grain. Subject distance roughly seventy centimetres.

Aspect ratio 4:5. No text. No watermarks. No frames. The image should feel like one still pulled from a film, not a publicity shot.