1. מתכון האימון (מודל של הפנים שלך):

1. 8 עד 20 תמונות, פנים ברורות וחדות.
2. זוויות שונות, אור שונה, ימים שונים. מרחק שונה חשוב יותר מזוויות נוספות.
3. בלי משקפי שמש, בלי אנשים אחרים בפריים.
4. חזה ומעלה, בלי תוויות על הבגד. המודל לומד גם אותן.
5. פרומט חיובי בלבד. רשימת איסורים מעלה את הסיכוי לאיסור.

2. כלל הרפרנס: המוצר בכל תמונה אמיתי, מתמונת מוצר אמיתית. בגד שלא קיים לא נכנס לתמונה. כשאין מודל מאומן, שלוש תמונות רפרנס של הפנים בתוך הבקשה עושות את אותה עבודה. מאוקטובר המודל לתמונות האלה הוא GPT Image 2 בהיגספילד, 3:4, איכות high, 4K, והרפרנס הרביעי הוא תמונת המוצר מהאתר.

3. הכוס (חמישה אני בכוס אחת). GPT Image 2, 3:4, high, שלוש תמונות רפרנס של הפנים. שבעה בלוקים, מילה במילה:

IDENTITY. Use the supplied reference photographs as the identity reference for every version of the man in the frame. Preserve his exact facial structure, jawline, short dark hair, trimmed beard and skin texture. All five versions must be unmistakably the same individual. SCENE. A high-angle photograph on a Tel Aviv pavement in the morning. The main figure stands below the camera looking up into the lens, arm extended toward the camera holding a plain white paper takeaway coffee cup. Inside the open cup stand four miniature versions of himself in different poses: one with both arms raised, one mid-laugh with his mouth open, one giving a thumbs up, and one leaning calmly on the rim looking straight up at the camera. All five wear the identical outfit. SCALE. Each miniature is roughly 9 percent of the frame height, and the cup is about 22 percent. The main figure's own hand, the paving slabs and a manhole cover give three ordinary-size references. The miniatures must read as real adult men reduced in scale. PHYSICS. The miniatures must feel like real human beings reduced in scale, not dolls, toys, figurines or cartoons. Each stands with correct weight distribution and casts a small precise contact shadow against the white inside wall of the cup. The one leaning on the rim compresses the paper very slightly under his forearm. The extended hand and cup are exaggerated in scale by the wide lens because they are closest to the camera, while the body compresses toward the pavement. All five share one light direction, one grade and one grain structure. GARMENT. Every version of him wears a LUKACHARI bamboo-viscose t-shirt. The cut is slim and follows the body closely without clinging, gently tapered through the waist, sitting a little long with a softly curved hem. The neckline is a wide raw-cut edge that rolls naturally, with no ribbed collar band. The jersey is simply cut and lightly rolled, and the same raw rolled finish appears at the sleeve ends, which fall at mid-bicep. The fabric is fine-gauge bamboo viscose jersey, matte with a faint soft sheen, and it drapes fluidly and heavily like silk rather than standing away from the body like cotton, falling in long soft vertical folds. The body is one single uniform black, an unbroken field with no print, no graphic and no chest logo of any kind. A single small cream woven tab, about the size of a thumbnail, sits at the very bottom of the hem on the wearer's right, carrying a fine dark-green line drawing of two bamboo stalks and no text. All five wear relaxed dark charcoal trousers and plain black leather sneakers. LIGHT. Bright overcast morning daylight, flat and directional, low contrast, cool neutral temperature, consistent across the main figure and all four miniatures, with a faint sheen on the jersey. CAMERA. Wide-angle phone lens at a high angle looking down, 24mm equivalent, the extended hand and cup exaggerated closest to the lens, sharp focus on the cup and the miniatures, the background softly compressed. CRITICAL REQUIREMENTS. Photorealistic skin with visible pores. Realistic fabric weight and folds. Physically accurate shadows, gravity and perspective. Premium editorial colour grading, subtle film grain, high dynamic range, 8K commercial advertising quality. NO TEXT anywhere, NO TYPOGRAPHY, NO PRINTED LABEL on the cup, NO LOGOS other than the small woven hem tab described above, NO WATERMARKS. The miniatures must not be dolls, toys, figurines or cartoons. No altered or inconsistent faces between the five versions. No extra people, no extra limbs, no malformed hands.

4. המדרגות (אני מוסר לעצמי חולצה). בלוקי GARMENT, LIGHT ו-CRITICAL כמו בכוס:

IDENTITY. Use the supplied reference photographs as the identity reference for both versions of the man in the frame. Both versions must be unmistakably the same individual. SCENE. A conceptual full-body fashion photograph on the worn limestone steps of an old Jaffa townhouse entrance, with a deep blue painted door and black iron railings. A very large translucent white rounded rectangular post frame divides the composition horizontally across the centre of the image. In the upper section, inside the frame, he stands confidently on the steps holding a neatly folded t-shirt in one hand, and the folded shirt extends past the lower boundary of the frame. In the lower section, outside the frame, a second version of the same man sits on the steps and reaches upward with both hands as if catching the folded shirt as it falls out of the frame into the real world. The frame carries a thin white border and four small soft-white icon glyphs along its lower edge, with no words, no username, no profile picture and no branding of any kind. SCALE. The standing figure occupies about 45 percent of the frame height and the seated figure about 30 percent. The steps, the door and the railings sit at ordinary size and fix the scale. The falling folded shirt is at true garment size in both halves. PHYSICS. The folded shirt visually breaks the boundary between the frame and the real scene, and the transition must be clean and convincing. The frame is weightless and casts no shadow. The seated figure's weight compresses the trousers behind the knee and against the stone, and both figures have correct soft contact shadows on the steps. Both share one light direction, one grade and one grain structure. CAMERA. Hasselblad X2D 100C, 55mm f/2.2, full-body vertical composition, medium-format look.

5. הרחוב (תמונת קמפיין שלמה, בלי יום צילומים).

SCENE. A cinematic three-quarter portrait on a quiet Tel Aviv street of pale 1930s Bauhaus buildings, late afternoon. He stands facing the camera, weight on one leg, one hand relaxed at his side. A very large translucent white rounded rectangular social-media post frame floats in front of the scene and surrounds his torso and head, so that he appears to be stepping forward out of the frame toward the viewer. His shoulder and forearm cross in front of the frame edge and break its boundary. The frame is a plain generic interface panel with a thin white border, four small soft-white icon glyphs along its lower edge, and no words, no logos, no username, no profile picture and no branding of any kind. SCALE. He occupies roughly 70 percent of the frame height. The floating post frame is about 60 percent of the image width. A parked car and a doorway behind him sit at ordinary size and fix the scale. PHYSICS. The floating panel is weightless, casts no shadow, and is slightly translucent so the building behind it is faintly visible through it. Where his arm crosses in front of the panel edge the occlusion is clean and the panel passes behind his sleeve. His feet are in full contact with the pavement with a correct soft contact shadow. CAMERA. Hasselblad X2D 100C, 65mm f/2.8, medium close-up, centred composition, shallow depth of field.

6. חבל הכביסה (שמונה צבעים, בלי צלם). מכאן והלאה הרפרנס הרביעי הוא תמונת המוצר מהאתר, ובלוק GARMENT אומר: החולצה שבתמונת הרפרנס הרביעית.

SCENE. A conceptual fashion photograph on a Tel Aviv Bauhaus rooftop in late afternoon. A laundry line runs across the frame between two white rendered walls, and eight identical t-shirts hang on it side by side with wooden pegs, each in a different colour: black, navy, white, light grey, dark grey, blue, beige, brown. He stands at the right end of the line, reaching up and pinning the last shirt, looking over his shoulder at the camera with a calm half-smile. SCALE. He occupies about 70 percent of the frame height; the shirts hang at true garment size; the line is at his eye level. PHYSICS. The shirts hang with real weight and soft folds, slightly moving in a breeze, pegs cast small shadows on the fabric, his raised arm crosses in front of the line, his feet are on the roof with a correct contact shadow. GARMENT. Every shirt is the t-shirt shown in the fourth reference image: slim cut, wide raw-cut rolled neckline with no ribbed collar band, raw rolled sleeve ends at mid-bicep, fine bamboo viscose jersey with a faint soft sheen, one uniform colour per shirt, no print, a single small cream woven tab at the bottom hem carrying a fine dark-green two-stalk bamboo line drawing. He wears the navy one with relaxed charcoal trousers and white leather sneakers. LIGHT. Warm late-afternoon Mediterranean sun from the upper left, long soft shadows, warm highlights on the white walls, cool blue sky. CAMERA. Hasselblad X2D 100C, 45mm, full-body vertical composition, medium-format look. CRITICAL. Photorealistic skin with pores, realistic fabric weight, accurate shadows and gravity, premium editorial grading, subtle film grain. NO TEXT anywhere, NO LOGOS other than the hem tab, NO WATERMARKS. No extra fingers, no malformed hands, no second person.

7. הערימה (ערימה גבוהה ממני). GPT Image 2, 4K. GARMENT, LIGHT, CRITICAL כמו ב-6:

SCENE. A conceptual fashion photograph in a bright Tel Aviv apartment stairwell with terrazzo floors and a pale green wall. He sits on the stairs holding a large plain white cardboard box open on his lap, and out of the box rises an impossibly tall, perfectly neat stack of folded t-shirts, taller than he is, leaning slightly, in alternating colours: black, navy, white, light grey, dark grey, blue, beige, brown, repeating. He looks up at the top of the stack with raised eyebrows, one hand steadying it. SCALE. He occupies about 55 percent of the frame height; each folded shirt is at true garment size; the stack rises past the top edge of the frame. PHYSICS. The stack has real weight and a slight lean, the lower shirts compress under the ones above, the box flexes on his lap, his hand presses into the fabric, correct contact shadows on the stairs. CAMERA. Hasselblad X2D 100C, 55mm, vertical composition, medium-format look. Soft daylight from a stairwell window on the left.

8. הקופסאות (שמונה קופסאות על הראש).

SCENE. A conceptual street photograph on Rothschild Boulevard in Tel Aviv, ficus trees and Bauhaus facades behind, morning. He walks toward the camera with his hands in his pockets, perfectly balancing on his head a tall stack of eight plain white shirt boxes, closed, each slightly offset, calm and amused. SCALE. He occupies about 75 percent of the frame height; the stack adds about half his height above him and touches the top edge; people far behind sit at ordinary size. PHYSICS. The stack leans a fraction and the boxes compress slightly under each other, the bottom box presses into his hair, his posture is straight to balance the weight, correct soft shadows on the pavement. GARMENT. The shirt shown in the fourth reference image, uniform dark grey; relaxed black trousers, white leather sneakers. NO LOGOS on the boxes. CAMERA. Hasselblad X2D 100C, 55mm, full-body vertical composition. Soft morning sun through the trees, dappled light.

9. הקיר (החנות הזאת לא קיימת).

SCENE. A conceptual retail photograph inside a minimal white boutique. A wall of open cubby shelves behind him holds 24 perfectly folded t-shirts in a colour grid, three rows of eight: black, navy, white, light grey, dark grey, blue, beige, brown in each row. He stands in front of it, pulling one navy shirt out of its cubby with one hand and looking at the camera with a small smile. SCALE. He occupies about 70 percent of the frame height; each folded shirt is at true garment size; the shelf wall fills the background edge to edge. PHYSICS. The folded shirts sit with real weight and soft edges, the one being pulled out drags slightly against the shelf, correct contact shadows inside each cubby, his feet on a pale wooden floor with a soft shadow. GARMENT. Every shirt is the one shown in the fourth reference image, one uniform colour each, the cream hem tab visible on the folded edges. He wears the black one with charcoal trousers. NO PRICE TAGS. CAMERA. Hasselblad X2D 100C, 50mm, three-quarter vertical composition. Soft even daylight from a skylight.

10. המגבת (חולצה בגודל מגבת חוף).

SCENE. A conceptual photograph shot from directly above, top-down, on a Tel Aviv beach in the morning. He lies on his back on the sand, relaxed, hands behind his head, sunglasses on, and instead of a beach towel he lies on one enormous navy t-shirt laid flat on the sand, the shirt about three times his size, its raw-cut neckline above his head and its sleeves spread wide to either side like a towel. SCALE. He occupies about 45 percent of the frame height; the giant shirt fills most of the frame; a real-size pair of flip-flops and a small water bottle beside him fix the scale. PHYSICS. The giant shirt lies with real fabric weight, soft wrinkles where his body presses it, sand visible at its edges, a faint shadow under his body, small folds at the sleeves. GARMENT. The giant shirt is the one shown in the fourth reference image, uniform navy, the cream hem tab at the hem. He wears the white one with sand linen shorts. CAMERA. Drone-style top-down, 35mm equivalent, vertical composition, tack sharp. Bright morning sun from the top left.

איך משתמשים בזה לעצמכם: מצרפים תמונת מוצר אמיתית כרפרנס וכותבים "the garment shown in the reference image". את SCENE מחליפים בסצנה שלכם, ומשאירים את SCALE ו-PHYSICS כמו שהם. ותמיד עוגן אחד בגודל אמיתי בסצנה, אחרת המודל לא יודע כמה גדול הדבר.

דביר הירשברג · @dvir_hirshberg