Disclaimer: This is an independent creative test made with AI, for demonstration only. It isn't an ad for any brand shown or named, and isn't affiliated with, sponsored or endorsed by them. All trademarks belong to their owners
Nano Banana Pro + Kling 3.0 - telling a black puma which side of the frame to sit on
A black puma brings a woman in white her handbag, and the left and right fix that set up the shot
Tested by Nouamane Benbrahim
In today's "animal frames" series I did a spot for Prada. A woman in a white dress walks into an empty white studio, a black puma pads in with a black handbag in its mouth, and the two of them leave before the Prada wordmark comes up. Prada isn't a client, this was just a test. This post is mostly about one frame: getting the puma to sit on the right side of her, and why I ended up spelling out left and right from the viewer's point of view.
Here's my exact process.
1. Start with an empty room
I made the studio from a prompt alone: a white curved wall, a pale floor and a tall window on the left throwing long shadows across everything.
Exact prompt
Create a new photorealistic image. This is a photograph taken inside a minimalist white studio from the start — not a composite. Shoot the whole space natively, with a single unified natural light source across every surface. THE VIBE: Austere, hushed, expensive emptiness — the pared-back quiet-luxury minimalism of a high-fashion campaign set before anything is placed in it. The room feels intellectual and cool, precise but not sterile, where the quality of light and the fall of a shadow are the only events. Stillness and generous negative space. THE SETTING: A clean, modern white studio — a seamless matte-white cyclorama sweep curving gently from floor to wall with no visible seam, its surface carrying the faintest real texture and tonal variation so it reads as painted plaster, not a flat digital void. A polished pale microcement floor with a soft satin sheen, subtle and almost imperceptible reflections. One tall floor-to-ceiling window just out of frame to the left. Architectural, uncluttered, refined proportions. THE LIGHT: Soft directional daylight raking in low from the left through the unseen window, casting long, clean, elongated geometric shadows across the white sweep and floor — the crisp diagonal of a window frame and mullions stretched across the wall. Gentle falloff from bright highlight to soft grey shadow, smooth gradients, no harsh clipping. Cool-neutral white balance with the faintest warmth where the sun lands. THE KEY DETAILS: The natural window-cast shadows are the subject — long, soft-edged diagonal bars and a rectangle of light on the floor. Delicate dust motes suspended in the light shaft. Subtle tonal gradation across the seamless wall. THE MOOD: Editorial, muted, cold-clinical calm with a breath of warmth. Restrained luxury. A clean neutral grade, whites held just off pure white, soft grey shadows, nothing oversaturated. THE COMPOSITION: Wide architectural frame, eye level, straight-on and balanced. Vast negative space with the shadows placed on a rule-of-thirds diagonal as the leading lines; low emphasis, open airy upper frame. THE CAMERA: Cinematic editorial architectural still — wide framing, eye-level straight position, deep focus with everything sharp edge to edge, lit exclusively by the single window daylight source with no studio strobes and no artificial separation, a clean cool-neutral naturalistic grade in the vein of Roger Deakins' understated natural light. Light falls off gently toward the frame edges. Hyperreal, tactile, every surface present.
Then I asked for the exact same room with a white floor, so the wall and floor melt into one surface.
Exact prompt
Create a new photorealistic image, but the floor is now white. Preserve everything else from the reference exactly — the seamless matte-white cyclorama wall, the soft low directional daylight from the left, the long clean geometric window-cast shadows, the composition, framing, grade and mood all stay identical. THE FLOOR (CHANGED): The floor is now a clean matte white, continuous with the seamless white cyclorama sweep so wall and floor read as one unbroken white surface, no visible seam. A soft satin sheen with subtle, almost imperceptible reflections, the faintest real texture and tonal variation so it reads as painted plaster rather than a flat digital void — never pure clipped white. THE SETTING (LOCKED): The minimalist white studio, the seamless curving cyclorama, the tall floor-to-ceiling window just out of frame to the left. Do NOT redesign the environment. THE LIGHT (LOCKED): Soft directional daylight raking in low from the left, casting long, clean, elongated geometric window-frame and mullion shadows across the white sweep and now the white floor, with gentle falloff to soft grey and smooth gradients. Cool-neutral white balance with the faintest warmth where the sun lands. Delicate dust motes in the light shaft. THE MOOD (LOCKED): Editorial, muted, cold-clinical calm with a breath of warmth, restrained luxury, clean neutral grade, whites held just off pure white. THE COMPOSITION (LOCKED): Wide architectural frame, eye level, straight-on, vast negative space, the shadows on a rule-of-thirds diagonal as leading lines, open airy upper frame. THE CAMERA (LOCKED): Cinematic editorial architectural still, deep focus everything sharp edge to edge, lit exclusively by the single window daylight source, clean cool-neutral naturalistic grade, gentle edge falloff. Hyperreal and tactile.
2. Put her in white
I wrote the look out in words, no product photos: a sleeveless white column dress in structured wool crepe with a boat neckline, falling below the knee, white pointed-toe slingback pumps and small silver studs. The empty room is the only reference, so the light and the shadows carry over.
One thing I made sure of: her hands are empty. The prompt literally says no handbag, no purse, no bag of any kind. The bag only shows up once the puma brings it.
Exact prompt
Create a new photorealistic image. This is a photograph taken inside the same minimalist white studio from the start — not a replacement or composite. A woman stands in the space; rebuild the entire scene as if shot natively here, with a single unified natural light source falling across both her and the environment. THE VIBE: Austere, hushed, expensive minimalism — a high-fashion campaign frame. Intellectual and cool, precise but not sterile. She is the quiet event in a vast field of white negative space; the fall of light and shadow still does half the work. IDENTITY LOCK: A woman in her late twenties, tall and slender with an elegant editorial build. Dark brown hair pulled back into a sleek, low, centre-parted bun, not a single flyaway out of place. Warm light-olive skin. Dark brown almond-shaped eyes, groomed brows. Refined, understated bare-luxe makeup — clean matte skin, soft neutral lip, no heavy contour. THE SUBJECT: She wears a classic minimalist white Prada-style ensemble — a crisp tailored sleeveless white column dress in a fine structured wool-crepe, clean architectural lines, a precise boat neckline, subtly structured shoulders, falling just below the knee, impeccably pressed. On her feet, sleek pointed-toe white leather slingback pumps. Delicate minimalist silver stud earrings, nothing else. Her hands are completely empty — no handbag, no purse, no bag of any kind. She stands in a poised, classic editorial pose: relaxed contrapposto with her weight on her right leg, left knee softly bent, her right hand resting lightly on her hip, left arm relaxed at her side, shoulders angled a few degrees off the lens, chin lifted slightly, gaze sent just off-camera to the left toward the light. Composed, serene, effortless. THE FACE: Natural skin texture, no airbrushing, no plastic or waxy skin, real skin with subtle tonal variation, fine peach-fuzz catching the soft directional light, faint natural sheen. Eyes with a natural catchlight and individual lashes. Soft organic light. THE SETTING (LOCKED, from the first reference): The clean modern white studio — the seamless matte-white cyclorama sweep curving unbroken into the continuous matte-white floor, wall and floor reading as one white surface with the faintest painted-plaster texture and a soft satin floor sheen. The tall floor-to-ceiling window just out of frame to the left. Do NOT redesign the environment. THE LIGHT (LOCKED, from the first reference): Soft directional daylight raking in low from the left through the unseen window, casting long, clean, elongated geometric window-frame and mullion shadows across the white sweep and floor. That same single source lights the woman — a soft key from her left, gentle falloff across her dress to soft grey shadow on her right, and her own long soft-edged shadow cast to the right, aligned in direction and length with the existing window shadows. Cool-neutral white balance with the faintest warmth where the sun lands. Delicate dust motes in the light shaft. THE MOOD: Editorial, muted, cold-clinical calm with a breath of warmth. Restrained luxury. Clean neutral grade, whites held just off pure white, soft grey shadows, nothing oversaturated. THE COMPOSITION: Wide architectural frame, eye level, straight-on. She stands off-centre on the left rule-of-thirds line, full length in frame with generous headroom and vast open white negative space filling the rest, the window shadows leading diagonally toward her. Airy, balanced, unhurried. THE CAMERA: Cinematic editorial fashion still — wide-to-medium framing, eye-level straight position, deep focus with subject and space sharp, lit exclusively by the single window daylight source with no studio strobes and no artificial rim separation, a clean cool-neutral naturalistic grade in the vein of Roger Deakins' understated natural light. Gentle light falloff toward the frame edges. Hyperreal, tactile, present.
3. Bring in the puma, twice
The idea for this frame was three dark shapes on an all-white set: the black cat, the black bag and her dark hair. That's straight from my prompt, and it's why everything else stays white.
For the first pass I used her frame as the only reference and added a seated black puma with amber eyes, her right hand on its head and the bag in her left. I put the puma beside her, toward the centre of the frame.
Exact prompt
Create a new photorealistic image. This is a photograph taken inside the same minimalist white studio from the start — not a composite. The woman is posed petting a sleek black puma that sits beside her, while she holds a black handbag, as if the cat has just brought it to her. Rebuild the whole scene natively in the space with one unified light source across the woman, the cat, and the room. THE VIBE: Austere, hushed, expensive minimalism with a surreal, cinematic edge — a high-fashion campaign frame. An all-white void broken only by three dark shapes: the black cat, the black bag, and the woman's dark hair. Cool, intellectual, tender and powerful at once. The story reads instantly: her wild companion has delivered her the purse. IDENTITY LOCK: Preserve the woman — late twenties, sleek dark-brown low centre-parted bun, warm light-olive skin, dark almond eyes, understated bare-luxe makeup, wearing the crisp tailored sleeveless white column dress and white pointed-toe slingback pumps — exactly, from the first reference. Do NOT source her face, hair, makeup, or outfit from anywhere else, even if another element depicts a person. THE SUBJECT: She stands beside the seated puma with an elegant, graceful bend — weight settled on her right leg, upper body leaning softly toward the cat. Her right hand rests gently on the puma's head, fingers lightly in its fur, mid-caress. Her left hand holds a classic structured black leather handbag by its short top handle, held slightly forward and up as though just received. Her head tilts down toward the cat with a soft, serene, affectionate expression, a faint calm smile. Poised and effortless, not stiff. THE FACE: Natural skin texture, no airbrushing, no plastic or waxy skin, subtle tonal variation, fine peach-fuzz in the soft light, natural catchlight in the eyes, individual lashes. Soft organic light. THE KEY DETAILS: The handbag — a classic minimalist structured black handbag in smooth matte black leather, clean rectangular silhouette, short top handle, minimal understated hardware, holding its shape crisply. THE PUMA: A full-grown melanistic puma — a sleek solid-black big cat — sits calmly upright on its haunches close beside her, front legs straight and planted, long tail curled around its front paws, head lifted toward her hand as it is petted. Glossy short jet-black fur with realistic individual-hair texture and a soft directional sheen catching the window light along its back and shoulders, luminous amber-gold eyes glowing warm against the black coat. Muscular, composed, serene. It is photographed in the same studio under the same window daylight, casting its own long soft-edged shadow to the right, matching the direction and softness of the woman's shadow — fully grounded in the space, sharing her light, never pasted in. THE SETTING (LOCKED, from the first reference): The seamless matte-white cyclorama sweep curving unbroken into the continuous matte-white floor, faintest painted-plaster texture, soft satin floor sheen, the tall window just out of frame to the left. Do NOT redesign the environment. THE LIGHT (LOCKED, from the first reference): Soft directional daylight raking in low from the left, long clean window-frame and mullion shadows across the white floor. One source lights woman, cat, and room; gentle falloff to soft grey; cool-neutral white balance with the faintest warmth where the sun lands. Delicate dust motes in the light shaft. THE MOOD: Editorial, muted, cold-clinical calm with a breath of warmth and a surreal, tender edge. Restrained luxury, quiet power, high-contrast graphic drama of black on white. Clean neutral grade, whites just off pure white, deep soft blacks in the cat and bag. THE COMPOSITION: Wide architectural frame, eye level, straight-on. The woman off-centre on the left third, the seated black puma beside her toward centre, the two forming one intimate unified group in the lower frame, the black bag between them at the point of hand-off. Generous open white negative space above and to the right; the window shadows lead diagonally toward them. Balanced, airy, cinematic. THE CAMERA: Cinematic editorial fashion still — wide framing, eye-level straight position, deep focus with woman, cat and space sharp, lit exclusively by the single window daylight source with no studio strobes and no artificial rim separation, a clean cool-neutral naturalistic grade in the vein of Roger Deakins' understated natural light. Gentle edge falloff. Hyperreal, tactile, present.
For the second pass I used that first one as the reference and changed one thing: where they stand. The puma sits on the right half of the image, she stands on the left turned toward it, and I gave the arrangement its own section in the prompt, written "viewer perspective, explicit". Everything else stayed locked: her, the puma, the bag, the room and the light.
One tip: say left and right as the viewer sees the picture. "Her right hand" and "the right of the frame" are two different things, so I wrote both out.
Exact prompt
Create a new photorealistic image. This is a photograph taken inside the same minimalist white studio — not a composite. Preserve the woman, the sleek black puma, the black handbag, the outfit, the studio, and the window lighting exactly from the first reference. The ONLY change is position: as the VIEWER looks at the image, the black puma sits on the RIGHT side of the frame, and the woman stands on the LEFT side of the frame, turned toward it. Rebuild it natively so the pose reads naturally, unified light across woman, cat and room. THE VIBE: Austere, hushed, expensive minimalism with a surreal, tender, cinematic edge — three dark shapes (the black cat, the black bag, her dark hair) against an all-white void. The story is unchanged: her wild companion has delivered her the purse. IDENTITY LOCK: Preserve the woman — late twenties, sleek dark-brown low centre-parted bun, warm light-olive skin, dark almond eyes, understated bare-luxe makeup, the crisp tailored sleeveless white column dress and white pointed-toe slingback pumps — exactly, from the first reference. Do NOT source her face, hair, makeup, or outfit from anywhere else. THE ARRANGEMENT (viewer perspective, explicit): The seated black puma is on the RIGHT half of the image. The woman stands on the LEFT half, her body angled toward the cat on her right, leaning gently toward it. The arm nearest the puma — the one on the RIGHT side of the frame — reaches out and rests on the puma's head mid-caress, fingers lightly in its fur. Her other hand, on the LEFT side of the frame, holds the classic structured black leather handbag by its short top handle, held slightly forward and up as though just received from the cat. Her head tilts toward the puma with a soft, serene, affectionate expression and a faint calm smile. Poised and effortless. THE FACE: Natural skin texture, no airbrushing, no plastic or waxy skin, subtle tonal variation, natural catchlight and individual lashes. Soft organic light. THE KEY DETAILS: The handbag — classic minimalist structured black handbag in smooth matte black leather, clean rectangular silhouette, short top handle, minimal hardware, holding its shape crisply. THE PUMA (UNCHANGED except position): The same full-grown melanistic puma — sleek solid jet-black big cat, glossy short fur with realistic individual-hair texture and soft directional sheen, luminous amber-gold eyes, muscular and composed — sits calmly upright on its haunches on the RIGHT of the frame, tail curled around its front paws, head lifted toward her hand as it is petted. It casts its own long soft-edged shadow to the right, matching the direction and softness of the woman's shadow, fully grounded in the space. THE SETTING (LOCKED, from the first reference): The seamless matte-white cyclorama sweep curving unbroken into the continuous matte-white floor, faint painted-plaster texture, soft satin floor sheen, the tall window just out of frame to the left. Do NOT redesign the environment. THE LIGHT (LOCKED, from the first reference): Soft directional daylight still raking in low from the LEFT, long clean window-frame and mullion shadows still falling to the RIGHT across the white floor — the lighting direction does NOT change. One source lights woman, cat and room; gentle falloff to soft grey; cool-neutral white balance with the faintest warmth. Delicate dust motes in the light shaft. THE MOOD: Editorial, muted, cold-clinical calm with warmth and a surreal tender edge. Restrained luxury, graphic black-on-white drama. Clean neutral grade, whites just off pure white, deep soft blacks in the cat and bag. THE COMPOSITION: Wide architectural frame, eye level, straight-on. The woman on the LEFT, the seated black puma on the RIGHT, the two forming one intimate unified group across the lower-centre of the frame, the black bag on the left. Open white negative space above; window shadows lead diagonally across. Balanced, airy, cinematic. THE CAMERA: Cinematic editorial fashion still — wide framing, eye-level straight position, deep focus with woman, cat and space sharp, lit exclusively by the single window daylight source with no studio strobes and no artificial rim separation, a clean cool-neutral naturalistic grade in the vein of Roger Deakins' understated natural light. Gentle edge falloff. Hyperreal, tactile, present.
4. The wordmark card
The empty room plus a file of the Prada wordmark. I asked for the black letters level and centred in the upper part of the wall, at about a third of the frame width, with no other text.
Exact prompt
Create a new photorealistic image — a minimalist luxury fashion-film end-card. Take the empty white studio scene from the first reference and place the black PRADA wordmark from the second reference onto it as a clean, crisp graphic title. THE VIBE: Austere, hushed, expensive minimalism — a high-fashion campaign sign-off frame. Vast white emptiness, one dark wordmark, nothing else. Restrained, iconic, still. THE SETTING (from the first reference): The clean modern white studio — the seamless matte-white cyclorama sweep curving unbroken into the continuous matte-white floor, faint painted-plaster texture, soft satin floor sheen. Preserve it exactly. THE LOGO (from the second reference): The PRADA wordmark — bold black serif capital letters, the exact letterforms, spacing and proportions from the second reference, reproduced precisely and legibly with clean sharp edges. Rendered in solid deep black, perfectly level and horizontal, centred left-to-right, sitting in the clean upper-middle white space of the frame at an elegant restrained scale (roughly a third of the frame width), like a crisp printed campaign title laid over the scene. Do NOT distort, restyle, misspell, or add any other text. THE LIGHT (from the first reference): Soft directional daylight raking in low from the left, long clean window-frame and mullion shadows falling to the right across the lower white floor. Cool-neutral white balance with the faintest warmth. Delicate dust motes in the light shaft. THE MOOD: Editorial, muted, cold-clinical calm with a breath of warmth. Restrained luxury. Clean neutral grade, whites held just off pure white, the wordmark deep solid black. THE COMPOSITION: Wide frame, eye level, straight-on, symmetrical. The black wordmark centred in the upper-middle white negative space; the soft window shadows across the lower floor as the only other element; generous open white all around. Balanced, airy, iconic. THE CAMERA: Cinematic editorial still — wide framing, eye-level straight position, deep focus everything sharp, lit exclusively by the single window daylight source, clean cool-neutral naturalistic grade. Gentle edge falloff. The wordmark itself is a flat crisp graphic, not lit or textured. Hyperreal, tactile studio; sharp clean logo.
5. Walk her in
Empty room first, her pose last. She comes in from the right edge and settles into the hand-on-hip pose. This clip is only 4 seconds, which was plenty for one walk.
Exact prompt
A minimalist white photography studio with a seamless white wall-and-floor sweep and soft daylight from the left casting long clean window-shadows across the floor. A woman wearing an elegant tailored white knee-length dress and white pointed-toe heels walks in smoothly from the right side of the frame with a graceful, unhurried editorial stride across the open white space. She moves into the frame and comes gently to rest off-centre on the left, settling into a poised, elegant standing pose — weight on one leg, one hand resting lightly on her hip, the other arm relaxed at her side, chin lifted slightly, looking calmly off to the left toward the light. Her soft shadow follows her across the floor, aligned with the daylight. The camera is completely static and locked off, eye-level, wide framing. Calm and refined, slow smooth motion, cool-neutral natural grade, no camera shake, no zoom.
6. The handoff
Her pose first, the puma frame last. The puma walks in from the right with the bag in its mouth, settles onto its haunches at her right side, and she takes the bag and rests her hand on its head.
Exact prompt
A minimalist all-white studio with soft daylight from the left casting long clean shadows. A woman in an elegant white dress stands poised on the left, one hand on her hip, gazing off toward the light. From the right side of the frame, a sleek solid-black puma walks in calmly carrying a structured black handbag gently in its mouth. It approaches her and settles onto its haunches at her right side. She turns and leans gracefully toward the cat, reaching out to take the black purse from its mouth, then rests her hand softly on the puma's head, petting it, looking down at it with a warm, serene expression. Smooth, graceful, unhurried motion. The camera is completely static and locked off, eye-level, wide framing. Cool-neutral natural grade, soft window light constant throughout, shadows falling to the right, no camera shake, no zoom.
7. Out they go
The puma frame first, the wordmark card last. They turn and walk off to the right side by side, and once the room is clear the wordmark fades up and holds still for the final second.
Exact prompt
A minimalist all-white studio with soft daylight from the left casting long clean shadows to the right. A woman in an elegant white dress stands on the left beside a sleek solid-black puma on the right, holding a black purse, her hand resting on the cat mid-pet. She straightens gracefully, and together the woman and the black puma turn and walk away side by side toward the RIGHT side of the frame, moving smoothly and unhurried, both exiting the frame to the right and leaving the studio empty. As the white space clears, the bold black PRADA wordmark fades up, centred in the upper-middle white space, crisp sharp black serif capitals, and holds perfectly still for the final second. The camera is completely static and locked off, eye-level, wide framing. Cool-neutral natural grade, soft window light constant throughout, no camera shake, no zoom.
8. Stitch it
I asked Emero to join the three clips in order, walk-in, handoff, walk-off. Any editor works too.
Exact prompt
Combine the clips in order
Why it works
The handoff clip has to end exactly on the puma frame, so wherever the puma sits in that still is where it ends up in the video. Get the arrangement right in the image and the clip just fills in the walk.
Your turn: write one frame where you name left and right from the viewer's side, and see if everyone lands where you said.
And if you'd rather not write all of that out, Emero writes the prompts for you and remembers what worked last time, at cost.
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