resting hand against hip

(Ultra-realistic, photorealistic), a seductive mature woman, aged 50-60, with flawless skin, sultry eyes, and long dark hair cascading in soft waves. She is wearing a provocative seethrough cream-white lace lingerie set, her nipples and cameltoe showing, with sheer stockings held by garters and black stiletto heels, her curves highlighted by delicate floral lace patterns. She stands confidently in a dimly lit elevator with golden mirrored panels, one hand tracing the curve of her hip while the other brushes her hair. Her hips sway seductively as she walks forward, locking her teasing gaze with the camera. The soft cinematic lighting casts warm highlights on her skin and subtle shadows, creating an intimate and sensual atmosphere. Shot in 8K resolution, with rich colors, hyper-realistic textures, volumetric light effects, depth blur, and cinematic film grain, using a Nikon D850, f/1.6 lens, Kodak Portra 400

(Ultra-realistic, photorealistic), a seductive mature woman, aged 50-60, with flawless skin, sultry eyes, and long dark hair cascading in soft waves. She is wearing a provocative emerald-green lace lingerie set, with sheer stockings held by garters and black stiletto heels, her curves highlighted by delicate floral lace patterns. She stands confidently in a dimly lit elevator with golden mirrored panels, one hand tracing the curve of her hip while the other brushes her hair. Her hips sway seductively as she walks forward, locking her teasing gaze with the camera. The soft cinematic lighting casts warm highlights on her skin and subtle shadows, creating an intimate and sensual atmosphere. Shot in 8K resolution, with rich colors, hyper-realistic textures, volumetric light effects, depth blur, and cinematic film grain, using a Nikon D850, f/1.6 lens, Kodak Portra 400

(Ultra-realistic, photorealistic), a seductive mature woman, aged 50-60, with flawless skin, sultry eyes, and long dark hair cascading in soft waves. She is wearing a provocative emerald-green lace lingerie set, with sheer stockings held by garters and black stiletto heels, her curves highlighted by delicate floral lace patterns. She stands confidently in a dimly lit elevator with golden mirrored panels, one hand tracing the curve of her hip while the other brushes her hair. Her hips sway seductively as she walks forward, locking her teasing gaze with the camera. The soft cinematic lighting casts warm highlights on her skin and subtle shadows, creating an intimate and sensual atmosphere. Shot in 8K resolution, with rich colors, hyper-realistic textures, volumetric light effects, depth blur, and cinematic film grain, using a Nikon D850, f/1.6 lens, Kodak Portra 400

Hand on hip reference

Hand on hip

Scene 1: Introduction to the SituationPhoto Description: The woman stands in a messy kitchen, with dishes piled high in the sink and scattered across the countertops. She looks bewildered and exhausted, with wide eyes as if facing a major challenge.Scene 2: Attempt to EscapePhoto Description: The woman is sneaking out of the kitchen, but a spoon or utensil on the floor seems to block her way. She looks around nervously, glancing at the camera with a humorous expression of defeat.Scene 3: Moment of InspirationPhoto Description: The woman is sitting on the floor next to the sink, resting her chin on her hand as if deep in thought. Her face lights up with a bright idea, showing a look of excitement.Scene 4: Creative AttemptPhoto Description: The woman is smiling excitedly while arranging dishes into funny shapes or structures on the table, like a tower or pyramid. Some dishes are falling over, adding a comedic touch.Scene 5: Humorous ResignationPhoto Description: The woman, wearing cleaning gloves and holding a sponge, is laughing as she starts washing dishes. Her face shows a mix of humor and determination, as if she has finally accepted the task with a good attitude.

Scene 1: Introduction to the SituationPhoto Description: The woman stands in a messy kitchen, with dishes piled high in the sink and scattered across the countertops. She looks bewildered and exhausted, with wide eyes as if facing a major challenge.Scene 2: Attempt to EscapePhoto Description: The woman is sneaking out of the kitchen, but a spoon or utensil on the floor seems to block her way. She looks around nervously, glancing at the camera with a humorous expression of defeat.Scene 3: Moment of InspirationPhoto Description: The woman is sitting on the floor next to the sink, resting her chin on her hand as if deep in thought. Her face lights up with a bright idea, showing a look of excitement.Scene 4: Creative AttemptPhoto Description: The woman is smiling excitedly while arranging dishes into funny shapes or structures on the table, like a tower or pyramid. Some dishes are falling over, adding a comedic touch.Scene 5: Humorous ResignationPhoto Description: The woman, wearing cleaning gloves and holding a sponge, is laughing as she starts washing dishes. Her face shows a mix of humor and determination, as if she has finally accepted the task with a good attitude.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green mini skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. T

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

The moon in a glass of champagne in the hand of a dandy with an orchid in a bow tie against the background of the Venetian canal

The name “monique” tattooed on hand 

Monique tattoo on hand spelled out

Monique tattoo on hand 

Monique on hand