Getting the best out of it

Most photos need nothing but Auto brush. These are for the ones that do, and the first of them happens before you have taken the picture.

Watch it instead

The whole thing in one go — getting started, and getting good results.

1It starts at the shoot

Two minutes here saves more than any prompt can.

The clean plate is painted from what the camera could see. Where something hides a feature completely, there is nothing underneath to recover, and the model has to invent it. That is where an edit starts to look like an edit.

Move whatever covers something that matters

A dish rack over the sink, a towel over the tap, a wardrobe across the window, a sofa pushed against the fireplace. Move it before you shoot and the plate has real pixels to work from instead of having to invent the feature the buyer came to see.

Clutter in open space is easy. Clutter against detail is not

A vacuum on a plain floor comes out cleanly. The same vacuum against a patterned rug, a radiator or a tiled backsplash means the pattern has to be continued, and a continued pattern is the thing a buyer notices.

Leave the room readable

If a wall is completely hidden by stacked boxes, no tool can tell you what is behind them. Clear enough that the shape of the room is visible, and let this take the rest.

2Wording a redo clean plate

When a plate comes back wrong and you send that photo again.

Say what you want to see, not what you do not

"The wall above the counter is plain painted drywall" beats "do not add a backsplash". Naming something in a don't sentence often makes it more likely rather than less: the model has no reliable way to picture absence.

Name the item and where it is

"The dish rack on the left counter", not "the dish rack". Where two things share a name, the location is the only thing telling them apart.

Describe the finished photo as a fact

Write it as though the room already looks that way. "The counter is empty and the wall behind it is bare", rather than a list of edits to perform.

Do not say the same thing three ways

Repeating an instruction in different words reads as three separate demands and pulls in three directions. One clear sentence per idea.

Short beats long

Every extra sentence dilutes the ones that matter. Four lines that say exactly what you mean will beat twelve that hedge.

×Remove the dish rack and don't put a window there, also get rid of the soap and clean up the counter please

✓The counter beside the sink is empty. The wall behind it is plain painted drywall.

3The brush, and the mistake that costs a credit

The one worth reading twice.

Nothing is ever removed from your photograph. A second image is painted underneath it with the room empty, and the brush erases the top layer to let that show through. Everything you do not brush is the original, which is why the result holds up.

Prompt from the original, not from what is on screen

When you regenerate a plate, you are describing the photograph you took, not the half-brushed version in front of you. The model never sees your brushwork. Asking it to "remove the rest of the bottles" when the first three are already brushed away will confuse it, because in the photograph it is given, every bottle is still there.

Describe the room as the camera found it, and say what you want the empty version to look like.

Your brushwork survives a redo

Regenerating changes only the plate underneath. What you have already brushed stays exactly where it is, so a redo is never a reason to start the photo again.

Brush back before you re-render

If the plate took something you wanted kept, stop brushing there and leave it. The original is still on top. A re-render costs a credit; not brushing costs nothing.

A different character is often faster than a better prompt

If Falco took too much, Coco on the same photo is one press and usually the answer. Save the wording for when the strength is right and the result still is not.