Nano Banana 2.1
Gemini image model with Pro-level photorealism, materials and lighting at Flash latency.
google/gemini-nano-banana-2.1/text-to-image
Examples
representative generations · starting points to seed the playground
A still-life photograph in 16:9. On a dark tonal blue woodgrain sideboard, a futuristic modern cream-enamel oscillating desk fan sits at the left of frame, seen in three-quarter profile facing right: rounded ivory motor housing, minimalistic and sparse chrome-ringed cage of thin vertical wire bars, heavy stepped pedestal base, one orange fabric cord trailing left out of frame across the surface. The blades are frozen mid-spin, visible as a soft translucent blur behind the cage. At the right of frame, a single pale cream-white tulip stands in a plain clear drinking glass half-filled with water, its two long green leaves rising and curving; the stem bends into a long horizontal arc toward the left so the closed bloom leans out into open space and points directly at the fan, as if being blown by it. The wall behind is deep slate-blue damask wallpaper — tonal blue-on-blue baroque scrollwork, lighter where a soft directional light falls from the upper left. Warm low-key lighting, single large soft source raking from the left, present but open shadows. Shot on an 85mm lens, near-eye-level, shallow-ish depth of field with the wallpaper slightly soft. Palette limited to slate blue, cream, tonal blue woodgrain and sap green. Quiet, deadpan, minimal. No text, no people.
A wide editorial photograph shot at an oblique angle, not square to the wall. The camera sits low and to the right, looking diagonally down a long courtyard so the cream plaster wall recedes sharply to the left and the glossy oxblood-terracotta tile floor runs away in steep perspective, its grout lines converging toward a vanishing point at the far left. Two people carry a large framed mirror between them along that diagonal, walking away from the camera into depth. The man is the near figure, at the right of frame and close to the lens — cropped at mid-calf by the bottom edge, his head near the top of the frame, and he reads roughly twice the height of the woman in the image. Chocolate-brown corduroy overshirt and wide corduroy trousers, black leather loafers, dark curly hair, seen from behind and three-quarters, face turned in partial profile toward the far end of the frame. The woman is the far figure, much smaller, deep in the middle distance at the left, walking just a few paces short of a narrow black doorway cut into the plaster wall — matched ecru chore jacket and wide-leg trousers, chin-length dark bob, dark brown penny loafers, seen in three-quarter back view. Do not place them side by side on the same plane; do not render them at similar size; the man must clearly overlap nearer space and the woman must sit far back near the doorway. The mirror they carry is 2 metres wide by 1 metre tall — a 2:1 rectangle, twice as wide as it is tall, roughly the proportions of a domestic overmantel mirror. It is a chunky, substantial object, not a sliver: do not render it as a long narrow letterbox strip, not 3:1, not 4:1, not a banner or a plank. Thick dark walnut frame, mitred corners, moulding about 8cm deep. It is held on the same receding diagonal so it foreshortens in perspective — the man's near end larger and tilted toward the lens with its wood grain visible, the woman's far end tapering away smaller — but its true proportions must still read as 2:1, wide and solid. The mirror's glass reflects only open sky: clear pale blue with faint high cirrus drifting across it, softly graded lighter toward one corner, with the barest ghost of the courtyard's warm plaster catching at the very bottom edge of the glass. No text, no lettering, no words, no skywriting, no clouds forming shapes — an empty, calm sky reflection. The mirror has real weight — the man's fingers compress white around the moulding, his shoulder drops and he counter-leans away from the load, the woman's arm is straight and tensioned, both bodies angled against the mass. Even diffuse overcast daylight, no hard shadows, low contrast, warm neutral grade. The floor is polished to a wet sheen so both figures and the frame reflect softly downward, the near reflection large and the far one small. Warm sand-cream wall, oxblood floor, walnut, ecru and chocolate wardrobe, one rectangle of pure black shadow at the doorway. Shot on a 35mm lens, camera at knee height, strong wide-angle perspective, deep focus front to back. Clean smooth skin, natural colour, no grain, no text anywhere in the image.
A cinematic sports-editorial photograph. Five synchronized swimmers in an indoor pool, chest-deep, arranged in a receding diagonal line from the bottom-left foreground to the middle-right distance. Each wears a white latex swim cap and translucent hot-pink goggles, and a navy competition swimsuit; each has the same right arm raised and curved gracefully over the head, wrist relaxed, fingers pointed — a repeating identical gesture down the whole line, arms forming a rhythm of arcs across the frame. Water beads on their wet forearms and shoulders. Faces neutral, composed, all looking straight to camera. Diverse casting across the five — different skin tones and features, identical styling. The nearest swimmer in the bottom-left is cropped large and rendered heavily out of focus; focus falls on the second and third swimmers; the two furthest are slightly soft. Behind them, a tall wall of creamy, warm-white Carrara marble with fine grey veining, softly lit and slightly overexposed toward the upper right. The water is deep saturated blue with rippling surface texture and pale caustic reflections. Camera positioned low, just above the waterline, so the surface cuts across the lower third of the frame. Shot on an 85mm lens at f/2, shallow depth of field, strong foreground bokeh, soft even daylight from a skylight. Cool blue palette broken only by the pink goggles and the warmth of the marble. Clean smooth skin, subtle film grain, no text. The shadows have been filled by a subtle reflector on the left hand side—shadows are still present but opened up.