Focal length: how wide or tight the shot is
The number in millimetres. Small numbers see wide, big numbers zoom in and flatten. The badge is the classic focal length for that look.
24
24mm wide-angleTakes in a wide view and exaggerates depth: near things look big, far things shrink away. Great for landscapes, interiors and dramatic scenes. Faces near the edge can stretch. 24mm wide-angle, sweeping vista
35
35mm the storytellerA touch wider than your eye, so it keeps some world around the subject. The classic street, documentary and reportage look. 35mm, environmental portrait, reportage
50
50mm the natural oneThe "nifty fifty". Closest to how your own eye sees, honest proportions and no distortion. A safe, natural default. 50mm, natural perspective, eye-level
85
85mm portraitThe flattering face lens. Gently compresses features so noses do not bulge, and melts the background into soft blur. The go-to for people. 85mm portrait, shallow depth of field
100
macro (close-up)Makes tiny things huge: dewdrops, insect eyes, fabric texture. Focus is razor thin, so only a sliver is sharp. Usually a 100mm lens. macro shot, extreme close-up, dewdrop detail
200
telephoto (long lens)A long lens (135mm to 300mm) that reaches in from far away and flattens distance, pulling the background right up behind the subject. Wildlife, sports, tight portraits. 200mm telephoto, compressed background
Aperture and depth: the blur dial
The f-number sets how much is in focus. Small number (f/1.4) means wide open and lots of blur. Big number (f/16) means almost everything sharp.
f/1.4 shallow depth of fieldAperture wide open. Only a thin slice is sharp and the rest melts into creamy blur. The dreamy, subject-pops portrait look. f/1.4, shallow depth of field, blurred background
f/2.8 the reliable middleStill a soft background, but a bit more of the subject stays sharp. A dependable portrait and low-light setting. f/2.8, soft background, sharp eyes
f/8 deep focusAperture half closed, so most of the scene is sharp from front to back. The landscape and group-photo default. f/8, deep focus, sharp throughout
f/16 everything sharpTight aperture that keeps the whole frame crisp from foreground to horizon, and can turn bright lights into little star bursts. f/16, deep depth of field, sunstar
bokehThe look of the out-of-focus background, especially those round glowing orbs from points of light. Comes with wide apertures. creamy bokeh, glowing background orbs
Camera bodies and film stock: the "shot on" tag
Telling the AI which camera or film to imitate sets the overall texture and color, from clean digital to warm grainy analog.
shot on ARRI AlexaSays "cinema camera" to the model: rich filmic color, wide dynamic range and the Hollywood movie feel. shot on ARRI Alexa, cinematic color
shot on REDAnother high-end cinema flag. Crisp, modern, very high-resolution digital film look. shot on RED, ultra sharp, cinematic
DSLRA clean, sharp, modern digital-photo look. Neutral and reliable, good for product shots and everyday realism. DSLR photo, sharp, clean lighting
shot on film / 35mm filmAdds grain, gentle color shifts and soft highlights: the warm, analog, not-too-perfect feel. Name a stock like Kodak Portra for more control. shot on 35mm film, grain, Kodak Portra 400
medium format / HasselbladSignals huge detail and a smooth, luxurious, high-end editorial and fashion look. medium format, Hasselblad, ultra detailed
shot on iPhone / PolaroidFor a casual snapshot, everyday-real vibe (iPhone) or a soft, faded, instant-photo nostalgia (Polaroid). Polaroid photo, faded, soft flash
Lens effects and tricks
Special looks that come from the lens or the shutter, not the subject. Drop one in when you want an obvious, stylised effect.
tilt-shiftBends the focus plane so a real scene looks like a tiny toy model: a thin sharp band with blur above and below. tilt-shift, miniature effect, toy-like city
fisheyeAn ultra-wide lens that bulges the image into a bubble. Straight lines curve and corners bend. Playful and extreme. fisheye lens, curved distortion, 180 degree view
motion blurStreaks the moving parts to show speed and energy while the rest can stay sharp. motion blur, sense of speed, panning shot
long exposureA slow shutter that smooths motion into silk: waterfalls, light trails, star trails and glassy water. long exposure, light trails, silky water
anamorphic lens flareThe wide-cinema lens look: oval-shaped bokeh and those long horizontal blue streak flares across the frame. anamorphic, horizontal lens flare, widescreen
The lens for the look you want
| The look you want | Reach for | Why it works |
|---|
| Flattering portrait, soft background | 85mm, f/1.4 | compresses the face and melts the background |
| Big landscape, sharp front to back | 24mm, f/8 | wide view plus deep focus everywhere |
| Natural, just like I saw it | 35mm or 50mm | closest to human vision, no distortion |
| Dreamy orbs of light behind | f/1.4, bokeh | wide aperture rounds bright highlights into circles |
| Tiny toy-model world | tilt-shift | fakes a thin, miniature focus plane |
| Epic cinema movie frame | ARRI Alexa, anamorphic | filmic color plus widescreen streak flares |
| Silky water and light trails | long exposure | slow shutter smooths motion into streaks |
| Gritty, real, photojournalist | 35mm, shot on film | reportage framing with honest grain |
How to slot it into a prompt
[subject], [focal length], [aperture], [shot on ...], [lens effect], [lighting and mood]
Worked examplePut the camera words after the subject and let them do the heavy lifting. a weathered fisherman at the harbour, 85mm, f/1.4, shot on 35mm film, soft golden-hour backlight, shallow depth of field, moody
Quick rules
One focal length, one apertureDo not stack 24mm and 85mm in the same prompt, they fight each other. Pick one lens and one f-number.
Wide open for blur, closed down for sharpWant a dreamy blurred background? Use f/1.4. Want the whole scene sharp? Use f/8 or f/16.
Add the camera lastDescribe the subject and lighting first, then finish with the lens and "shot on" tag so the model treats it as the finishing style.