Nature & Wildlife Photography Style Prompt

Create a photorealistic nature/wildlife photograph of [SUBJECT: specific animal species in specific behavior / landscape feature / macro nature detail / underwater scene / aerial nature view].

SUBJECT AND BEHAVIOR:
[DESCRIBE THE EXACT SUBJECT AND WHAT IT IS DOING — e.g., "a snow leopard mid-leap between rocky outcrops in the Himalayan highlands" or "morning dew drops on a spider web with bokeh wildflowers behind" or "a pod of humpback whales bubble-net feeding at the surface, seen from a 45-degree aerial angle"]

CAMERA AND LENS SIMULATION:
Simulate the exact look of shooting with [CAMERA BODY: Canon EOS R5 / Nikon Z9 / Sony A1 / Phase One XT / Hasselblad X2D] and [LENS: 600mm f/4 telephoto for distant wildlife / 100-400mm zoom for versatile wildlife / 24-70mm f/2.8 for landscapes / 100mm f/2.8 macro for close-up detail / 14mm f/1.8 for dramatic wide-angle landscapes / 50mm f/1.2 for intimate environmental portraits of animals].

This lens choice should authentically affect:
- DEPTH OF FIELD: Long telephoto creates extreme background compression and creamy bokeh isolation of the subject. Wide angle creates deep focus with dramatic foreground-to-background sharpness. Macro creates razor-thin focus plane with everything else dissolving into color wash.
- COMPRESSION: Telephoto flattens spatial relationships between foreground and background. Wide angle exaggerates distance and creates dramatic scale.
- BOKEH CHARACTER: The specific lens should produce [SMOOTH CREAMY CIRCLES / BUSY NERVOUS DOUBLE-LINE EDGES / SWIRLY CAT'S EYE SHAPES] in out-of-focus areas depending on optical design.
- DISTORTION: Subtle barrel distortion on wide angles, pincushion on long telephotos.

EXPOSURE AND SETTINGS:
- Shutter speed: [FAST 1/2000+ freezing all motion with zero blur / MEDIUM 1/250 with slight motion blur on wing tips or running legs / SLOW 1/30 with intentional motion blur creating artistic movement / VERY SLOW with panning — sharp subject against streaked background]
- ISO behavior: [LOW ISO 100-400 clean and noise-free / HIGH ISO 6400-12800 with visible but controlled digital grain suggesting low-light conditions / PUSHED ISO 25600+ with noticeable noise suggesting extreme conditions]
- White balance: [DAYLIGHT NEUTRAL / WARM SHIFTED for golden hour / COOL SHIFTED for overcast or twilight / AUTO with slight magenta cast typical of Canon / AUTO with slight green cast typical of Nikon]

LIGHTING — NATURAL LIGHT MASTERY:
- [GOLDEN HOUR: warm directional light 15-30 minutes after sunrise or before sunset, long shadows, amber warmth on the subject, cool blue in shadows, rim light creating a glowing halo on fur or feathers]
- [BLUE HOUR: deep twilight blue with last warm light on the horizon, subject partially silhouetted]
- [OVERCAST: soft even diffused light with no harsh shadows, saturated colors, ideal for macro and forest scenes]
- [HARSH MIDDAY: challenging light with strong shadows, but used creatively for high-contrast dramatic effect, especially on water or white sand]
- [BACKLIGHT: subject dramatically backlit creating rim light, translucence through ears, wings, or leaves, possible lens flare artifacts]
- [DAPPLED FOREST LIGHT: complex pattern of light and shadow falling through canopy, shifting highlights on the subject]

ENVIRONMENT AND CONTEXT:
Place the subject in an authentic habitat with [SETTING DETAIL: specific vegetation types, terrain, water features, weather conditions, altitude indicators, seasonal markers]. The environment should feel wild and unmanaged — no manicured elements. Include [ENVIRONMENTAL STORYTELLING: fresh tracks in mud, prey remains, territorial markings, weather-worn features, evidence of season change].

COMPOSITION:
Apply [WILDLIFE COMPOSITION RULE: rule of thirds with subject at intersection point and space in the direction of gaze or movement / centered symmetric for portraits of animals looking directly at camera / subject small in frame emphasizing vast landscape context / tight crop showing only part of the animal for abstract impact / reflection composition using water surface / frame within frame using natural elements].

POST-PROCESSING STYLE:
Simulate the editing approach of [PHOTOGRAPHER REFERENCE: Nick Brandt — dramatic high-contrast black and white / Art Wolfe — rich saturated color with perfect composition / Frans Lanting — warm intimate wildlife moments / Paul Nicklen — cold blue underwater and polar / Tim Laman — dense jungle canopy master / Marina Cano — painterly soft wildlife portraits]. Processing should feel [MINIMAL AND NATURAL / DRAMATICALLY ENHANCED BUT BELIEVABLE / HIGH-CONTRAST EDITORIAL / SOFT AND ETHEREAL].

Ensure the image passes as an actual photograph — include subtle imperfections: slightly imperfect focus on secondary elements, natural chromatic aberration on high-contrast edges, vignetting appropriate to the lens, and authentic color science for the simulated camera brand.

--ar [3:2 standard landscape / 2:3 portrait / 16:9 cinematic / 1:1 square editorial] --v 6.1 --style raw --s 400 --chaos 5