Kerala Retro AI Photo Prompts: 12 Copy-Paste ChatGPT Prompts

Use the two uploaded photographs as identity references only. The first image is the man, the second is the woman. Each person keeps the facial structure, skin tone, age and proportions of their own reference image alone. Do not blend the two faces, do not transfer features between them, and do not average them into a single appearance. He stands or sits on the left of the frame, she on the right, their faces clearly separated with no overlap.

Use the uploaded group photograph as the identity reference for every person in it. Each face keeps its own facial structure, skin tone, age and proportions. Preserve the exact number of people and their relative ages — add no one, remove no one, and do not merge any two faces. Keep each person in roughly the same position within the group as in the reference.

Use the uploaded photographs as identity references only, one person per image, in this order: Image 1 is the father, Image 2 is the mother, Image 3 is the son, Image 4 is the daughter. Each face is sourced strictly from its own image and no other. Do not blend features across images. Arrange them in the order listed from left to right, faces clearly separated with no overlap.

Render the subjects at approximately 25 years of age while keeping their facial structure and identity unchanged — smooth the skin to that age, restore full dark hair, and remove age lines, while the bone structure, features and skin tone stay exactly as in the reference.

Create a hand-tinted black-and-white studio portrait from 1968, using the uploaded image strictly as an identity reference for facial structure, skin tone, age and proportions so he stays clearly recognisable. Restyle his hair short, oiled and neatly side-parted with sideburns to mid-ear, and give him a thin trimmed moustache. Dress him in a white full-sleeve shirt buttoned to the collar, worn over a folded white mundu with a fine gold border, and leather sandals. Pose him seated on a carved wooden chair, both hands resting flat on his knees, upper body square to camera, expression still and unsmiling. Set a painted studio backdrop behind — a soft grey wash suggesting clouds and a distant balustrade. Shoot as a large-format black-and-white negative contact-printed onto matte fibre paper, then hand-coloured with translucent photographic oils: the base image stays monochrome and finely detailed while colour is brushed on selectively — pink flushed into the cheeks and lips, the mundu border filled gold, the chair washed a warm brown, a green touch on the painted foliage of the backdrop. The tinting sits slightly outside the lines in places and pools unevenly, leaving the greys visible beneath. Compose vertically at 2:3. The print shows a white deckled border, foxing spots at one corner, a soft crease across the lower edge and the warm ivory tone of aged paper.

Render this as a 1984 Kerala monsoon portrait, using the uploaded image strictly as an identity reference for facial structure, skin tone, age and proportions so he stays clearly recognisable. Restyle his hair long and soaked, pushed back off the forehead with water running down his temples, and give him a full moustache beaded with rain. Dress him in a white cotton shirt gone translucent and clinging at the shoulders, sleeves rolled and dripping, worn over a folded mundu, a cloth bag held over his head against the downpour. Pose him mid-stride crossing a flooded courtyard, one foot in standing water throwing a splash, head down and turned slightly from the rain. Behind him a tiled-roof house with water sheeting off the eaves, a laterite wall, coconut palms thrashing in the wind, everything past ten metres lost in grey. Shoot on 35mm colour negative pushed one stop, 35mm lens at f/2, storm-cloud afternoon with a warm bulb glowing from the house doorway: rain streaks lit as bright lines against the dark treeline, his wet shoulders rim-lit, the frame cool blue-grey with one tungsten warm patch, coarse pushed grain, lifted blacks, motion blur in the falling water. Compose vertically at 2:3 at chest height. Skin keeps pores, running water and the strain of moving fast.

Paint this as a hand-painted Malayalam film poster from 1987, using the uploaded photo strictly as an identity reference for facial structure, skin tone, age and proportions so he stays clearly recognisable beneath the brushwork. Restyle his hair thick, blow-dried and side-swept with volume at the crown, and give him a heavy shaped moustache. Dress him in an open-collar cream shirt with the top three buttons undone, sleeves rolled above the elbow, a gold chain against the chest, dark flared trousers. Pose him mid-turn with his chin lifted and jaw set, one hand pushing back his hair, shoulders angled to camera — the hero stance of the period. Behind him render a painted composite background: a burning orange sky bleeding into a coconut treeline, a smaller inset portrait of his face floating in the upper corner, and a wash of deep blue at the base. Execute it as gouache and enamel on board, then reproduced by four-colour screen printing on cheap poster paper: visible halftone rosettes, colour plates misregistered by a millimetre so cyan ghosts along his shoulder, flat oversaturated reds and yellows, brush texture surviving in the skin tones, hard black outlining around the figure. Place a bold hand-lettered Malayalam title in thick red brush script across the lower third with a yellow drop shadow, a strip of smaller cast lettering beneath it, and a small rectangular censor certificate mark in the bottom corner. Compose vertically at 2:3. Paper shows fold creases and a torn upper edge.

Produce a 1988 photo-studio portrait in the glamour style, using the uploaded image strictly as an identity reference for facial structure, skin tone, age and proportions so he stays clearly recognisable. Restyle his hair thick and blow-dried with height at the front, side-parted and feathered at the ears, and give him a full groomed moustache. Dress him in a black polo-neck under a grey blazer with wide lapels and padded shoulders, sleeves pushed slightly up, a gold-toned watch on the visible wrist. Pose him seated on a stool leaning forward, elbows on knees, hands loosely clasped, head turned to camera with a level unsmiling expression. Set him against a plain dark grey studio backdrop lit with a soft key from camera-left, a blue gel skimming the right side of his face and an amber gel behind him separating his shoulder from the background. Shoot on medium format, 105mm lens at f/4, ISO 100 colour negative, with a diffusion filter fitted: highlights bloom softly, blacks lift into haze, overall softness with focus held only at the eyes, fine grain, strong vignette. Compose vertically at 2:3 from mid-thigh up, camera slightly below eye level so he reads as tall. Skin retains pores, stubble shadow and natural shine beneath the diffusion. A small embossed studio name and a hand-written negative number sit in the lower corner of the print.

Create a hand-tinted black-and-white studio portrait from 1968, using the uploaded image strictly as an identity reference for facial structure, skin tone, age and proportions so she stays clearly recognisable. Restyle her hair oiled and centre-parted, drawn back into a low bun with a jasmine strand pinned at the nape, no loose face-framing pieces. Dress her in a cream kasavu saree with a fine gold border worn over a plain elbow-sleeve blouse, pallu draped across the chest and tucked at the waist, a thin gold chain, small studs, glass bangles. Pose her seated on a carved wooden chair, hands folded in her lap, upper body square to camera, expression still and unsmiling. Set a painted studio backdrop behind — a soft grey wash suggesting clouds and a distant balustrade. Shoot as a large-format black-and-white negative contact-printed onto matte fibre paper, then hand-coloured with translucent photographic oils: the base image stays monochrome and finely detailed while colour is brushed on selectively — pink flushed into the cheeks and lips, the saree border filled gold, the blouse washed maroon, a green touch on the painted foliage of the backdrop. The tinting sits slightly outside the lines in places and pools unevenly, leaving the greys visible beneath. Compose vertically at 2:3. The print shows a white deckled border, foxing spots at one corner, a soft crease across the lower edge and the warm ivory tone of aged paper.

Photograph this as a 1984 Kerala monsoon portrait, using the uploaded image strictly as an identity reference for facial structure, skin tone, age and proportions so she remains clearly the same person. Restyle her hair long, centre-parted and soaked through, clinging in dark ropes at the temples and shoulders with water running from the ends. Dress her in a cotton saree in deep indigo with a thin gold border, the fabric wet and heavy against her, pallu pulled over her head and held closed at the throat with one hand, a black umbrella collapsed in the other. Pose her standing under the overhang of a tiled-roof verandah, half in the rain, looking out to the left of frame rather than at the camera. Behind her the red laterite wall, a wooden pillar, a courtyard dissolving into grey rain, banana leaves bending under the weight of water. Shoot on 35mm colour negative pushed one stop, 50mm lens at f/2, late afternoon under storm cloud with a single warm bulb burning inside the house behind her: rain streaks catch the backlight as bright lines, her wet skin and hair rim-lit, the foreground cool blue-grey against that one pocket of tungsten warmth, heavy grain from the push, lifted blacks, soft focus falloff. Compose vertically at 2:3 at eye level. Skin shows real texture, water beading at the collarbone, no smoothing.

Render this as a hand-painted Malayalam film poster from 1987, treating the uploaded photo purely as an identity reference for facial structure, skin tone, age and proportions so she remains clearly recognisable under the paint. Restyle her hair into a large voluminous blow-out with soft curls falling past the shoulders, centre-parted, a single jasmine strand at one side. Dress her in a chiffon saree in bright turquoise with a gold border, worn over a fitted short-sleeve blouse, gold jhumkas and stacked bangles. Pose her looking back over one shoulder with her pallu lifted by wind, lips parted, eyes wide and directed at the viewer. Behind her paint a composite backdrop: a hard magenta-to-orange gradient sky, a rain-streaked window motif at one edge, and a smaller inset of her face in profile floating upper-left. Execute as gouache and enamel on board reproduced through four-colour screen printing on cheap poster stock: coarse halftone rosettes, plates misregistered so magenta ghosts past her jawline, flat oversaturated colour, visible brush texture through the skin, heavy black outlining, eyes and lips overworked with extra detail as poster painters did. Lay a bold hand-lettered Malayalam title in yellow brush script across the lower third with a red drop shadow, a band of smaller cast lettering beneath, and a small censor certificate rectangle in the corner. Compose vertically at 2:3. The paper carries fold creases, a scuffed corner and paste residue at the edges.

Create a 1988 photo-studio glamour portrait, using the uploaded image strictly as an identity reference for facial structure, skin tone, age and proportions so she is clearly the same person. Restyle her hair into a big teased blow-out with heavy crown volume and loose curls, one side swept back, lifted at the edges by a studio fan. Dress her in a satin blouse in deep emerald with padded shoulders and a wide collar, worn under a draped chiffon saree pallu pinned high, gold jhumkas, a thin chain. Pose her at three-quarters to camera, chin down, one hand raised to touch her jaw, looking directly into the lens. Light her against a plain black studio backdrop with a single softened key from the left, a magenta gel raking her right cheek and a blue gel behind her shoulder throwing a coloured rim through the hair. Shoot on a medium-format body, 105mm portrait lens at f/4, ISO 100 daylight-balanced colour negative, with a diffusion filter over the lens: highlights bloom and smear outward, blacks lift into a milky haze, the whole frame slightly soft with only her eyes holding focus, gentle grain, heavy vignette pulling the corners to black. Compose vertically at 2:3, tight from the chest up. Skin keeps real pores and a natural sheen under the diffusion rather than being smoothed. A small embossed studio name sits in the lower right corner of the print.

Create a hand-tinted black-and-white studio portrait of a married couple from 1968, both faces staying clearly recognisable. Restyle his hair short, oiled and side-parted with a thin moustache; restyle hers oiled and centre-parted, drawn back into a low bun with a jasmine strand. Dress him in a white full-sleeve shirt with a folded mundu; dress her in a cream kasavu saree with a fine gold border over a plain elbow-sleeve blouse, thin gold chain, small studs, glass bangles. Pose them in the formal manner of the period: he seated on a carved wooden chair with both hands resting on his knees, she standing at his right shoulder with one hand placed lightly on the chair back, neither touching the other, both square to camera with still unsmiling expressions. Set a painted studio backdrop behind — a soft grey wash suggesting clouds and a distant balustrade. Shoot as a large-format black-and-white negative contact-printed onto matte fibre paper, then hand-coloured with translucent photographic oils: the base stays monochrome and finely detailed while colour is brushed on selectively — pink flushed into both faces, her saree border filled gold, her blouse washed maroon, a green touch on the painted foliage. The tinting sits slightly outside the lines and pools unevenly, greys visible beneath. Compose vertically at 2:3. The print has a white deckled border, foxing at one corner and the warm ivory tone of aged paper.

Design this as a printed Onam greeting card from 1990 featuring a married couple, both faces clearly recognisable. Restyle his hair thick and side-swept with a full moustache; restyle hers into a soft blow-out with crown volume and a jasmine strand pinned at one side. Dress him in a cream kasavu shirt over a folded gold-bordered mundu; dress her in a cream kasavu set-mundu with a broad gold border, gold necklace, jhumkas and bangles. Pose them standing side by side beside a large circular pookkalam laid on a swept courtyard, he at the left and she at the right with a small gap between them, both with hands together in a namaskaram and warm open smiles directed at the camera, a brass lamp burning at the edge of the flowers. Behind them a tiled-roof verandah with wooden pillars and a hanging brass bell. Shoot on 35mm colour negative, 50mm at f/5.6, bright mid-morning: saturated flower colour, warm skin tones, mild grain. Then reproduce as offset printing on glossy card stock with visible halftone rosettes and slightly heavy magenta. Frame the photograph inside a printed gold foil border with floral corner motifs, and set a Malayalam Onam greeting in ornate gold script across the lower band with a small English line beneath. Compose vertically at 2:3. The card shows a soft centre-fold crease, a scuffed foil edge and slight yellowing at the margin.

Create a hand-tinted black-and-white family portrait from 1968, every face staying clearly recognisable. Restyle each into period grooming: men with short oiled side-parted hair and thin moustaches, women with oiled centre-parted hair drawn into low buns with jasmine, children with oiled combed-flat hair. Dress the men in white full-sleeve shirts over folded mundus, the women in cream kasavu sarees with fine gold borders over plain elbow-sleeve blouses with thin gold chains, the children in stitched cotton shirts and frocks. Arrange them formally: the eldest seated on carved wooden chairs at the centre, the others standing behind in a single row, any small children seated cross-legged on the floor in front. Every person faces the camera squarely with hands at their sides or folded, no smiles, no one touching. Set a painted studio backdrop behind — a soft grey wash suggesting clouds and a balustrade. Shoot as a large-format black-and-white negative contact-printed onto matte fibre paper, then hand-coloured with translucent photographic oils: the base stays monochrome and finely detailed while colour is brushed selectively — pink flushed into each face, saree borders filled gold, blouses washed maroon and blue, a green touch on the painted foliage. Tinting sits slightly outside the lines and pools unevenly. Compose horizontally at 3:2, everyone in focus. The print has a white deckled border, foxing at one corner and the warm ivory tone of aged paper.

Photograph this as a 1990 Onam family portrait in a Kerala courtyard, every face staying clearly recognisable. Restyle each into period styling: men with thick side-swept hair and full moustaches, women with soft blow-outs and crown volume with jasmine pinned at one side, children with combed-flat hair. Dress the men in cream kasavu shirts over folded gold-bordered mundus, the women in cream kasavu set-mundus with broad gold borders and gold necklaces, jhumkas and bangles, the children in small kasavu outfits. Arrange them in a loose row behind a large circular pookkalam laid on a swept courtyard, the eldest at the centre, children crouched at the front edge of the flowers, everyone facing camera with warm open smiles, a brass lamp burning at the near edge of the arrangement. Behind them a tiled-roof house verandah with wooden pillars, a hanging brass bell, coconut palms beyond. Shoot on 35mm colour negative, 35mm lens at f/8, bright mid-morning light with the courtyard in open sun: saturated flower colour, warm skin tones, deep shadow under the verandah roof, mild grain, slight highlight bloom where the sun hits the white kasavu. Compose horizontally at 3:2 from chest height, everyone in focus. Skin keeps texture and the shine of heat. The courtyard holds only brass vessels, a coir mat and the flowers.