Restore wardrobe, setting and light on frames that nearly arrived. One change per job, 21 credits, originals preserved in the collection.
Per-job credit pricing is shown before you confirm. An edit produces a new piece; your original stays untouched in your account.
Every exhibition has frames that nearly arrived. The pose holds, the light is true, but the outfit belongs to another room, or the room belongs to another gallery entirely. The editor exists for those frames. State the change in plain words — wardrobe, setting, light, a single detail — and the frame is re-rendered with that change made and everything else left standing exactly where it was. Editing costs 21 credits a job, shown on the Spec sheet before you confirm, and the original is never overwritten: it stays in your collection beside its restored version, like a piece and its conservation record.
Strong bones, wrong details. A frame whose composition itself has failed costs more to restore than to remake, and the restoration room is not where pride should be spent.
A single instruction keeps the rest of the frame still and the price predictable. Three changes at once is not an edit; it is a regeneration wearing an edit’s price.
Original and restoration rest side by side in the collection. Ship the winner. The other costs nothing further and asks nothing of you.
The same pose dressed for three different packs — the quickest multiplication a catalogue knows.
White studio to hotel boudoir to arched gallery doorway, without moving the woman or the light that holds her.
Daylight to lamplight, flat to dramatic — a frame re-graded so it sits quietly among the set it is joining.
“Change the electric-blue camisole set to burgundy satin and lace. Keep the pose, the hair and the gallery light exactly as they are.”
The change is named and everything else is explicitly protected. The words “keep exactly” are cheap insurance, and they work in every room.
“Move the scene to a paper-white gallery hall with a tall arched doorway and electric-blue light spilling through it. The subject and her pose do not change.”
One environment, moved once. A new room, a new outfit and a new pose in a single job is a new photograph, and should be briefed as one.
| Situation | The better move |
|---|---|
| Pose and light are right; details are wrong | Edit — it keeps the bones of the frame and costs less |
| The composition itself has missed | Remake the frame at the entry portal with a corrected brief |
| One keeper, three packs | Edit three times from the one keeper |
21 credits per job, shown before you confirm. Restoring a keeper is normally cheaper than remaking and re-judging a whole set at the entry portal.
No. The restoration is a new piece in the collection. The original rests untouched, and both remain yours.
One. Stacked changes unsettle exactly the parts you asked to keep, and the frame drifts off the wall.
Yes — your own photographs, under the same consent rules as every upload in this gallery.
Narrow the instruction and name what must stay identical. Vagueness is the usual cause of a drifting restoration.
Drafts, edits, animation and finishing share one credit balance and one private library. Start with the piece you need today.
Open the generator