1980s Studio Couple Portrait

FACE MATCH IS THE TOP PRIORITY. These are the exact two people in the attached reference photo, not lookalikes. Copy BOTH faces feature by feature - hairline, brows, eye shape and spacing, nose, lips, jawline, his beard pattern, her cheek structure, skin tone - every proportion identical on each, and never swap, merge or average their features. Never beautify or genericise either face.

The classic 1980s studio couple portrait, painted floral backdrop behind, chest-up on both. POSE, exactly the period convention: he sits squared to the lens on a carved teak chair with both hands out of frame below the crop; she stands just behind and beside his right shoulder, also squared to the lens, one hand resting flat and relaxed on his shoulder with fingers countable, her other arm straight down out of frame. Their heads are at clearly different heights, hers higher, neither face overlapping the other. HIS DRESS: a cream-and-slate striped fine-cotton shirt, collar open, a heavy gold chain, three fine lines of sacred ash on the mid-forehead clear of the brows and hairline. HER DRESS: a deep maroon Kanjeevaram with a gold zari border, pallu pinned flat, a long gold haaram, temple jhumkas, a round red bindi, hair in a low bun ringed with jasmine at the BACK, her front hairline fully visible and exact. GAZE: both look straight to the lens, his a proud closed-lip smile, hers composed and still. Paired tungsten floods from upper-front camera-left key BOTH faces brightest and equally, clear catchlights in all four eyes; the backdrop, the zari and the gold are each held a step dimmer than their skin. Vertical 4:5. No readable text anywhere.

CAMERA: a medium-format studio camera on a tripod under hot tungsten floods - a warm 3200K cast over everything, the face critically sharp and the backdrop acceptably so, fine even grain, a firm shadow under the chin, the corners falling into a soft vignette. FILM FIDELITY LAW: the period look lives entirely in the grain, colour, contrast and light of the photograph - never in the face. Facial geometry and every feature stay sharp, correctly exposed and exactly readable; grain never smears the eyes, nose or mouth, and no scuff, fade, stain or damage ever falls on a face.

GROOMING: features and hairlines stay exactly as the reference for both; only styling moves to the period - his hair side-parted with a light oil sheen and swept clear of the forehead, his front hairline fully visible and exact, the period moustache over clean-shaven cheeks, her hairline likewise never hidden by cloth or ornament. PERIOD LAW: strictly 1980s South India - every vehicle, object, garment and surface period-correct. Everything in frame predates 1990 and every face stays bare with nothing worn over the eyes. All styling, jewellery, grooming and makeup stays South Indian and of the decade. SIGN LAW: any board, poster, notice or printed surface is period-accurate in colour but deliberately soft and unreadable - brushstrokes only, no formed letters in any script, no readable words or numbers anywhere, and no date stamp. CROWD LAW: background figures appear only far behind, small and indistinct with no readable face; apart from the two subjects themselves, no third person shares their focal plane or touches either of them.

LIGHT LAW: every face is lit only by this scene's own light - same direction, colour temperature and softness, shadows falling exactly as the environment dictates - never a pasted studio face.

FINAL CHECK: compare BOTH faces against the attached reference - each identity must match its own reference face exactly; if any feature differs, it is wrong.