ChatGPT Images 2.5 vs 2.0, on the same prompts

A printed film festival poster, offset litho look with visible paper tooth. A single low winter sun sits behind a bare ridge line, throwing long blue shadows down a snowfield in the lower half. Flat two-colour treatment, deep navy and a warm bone white, one thin brass rule across the middle. The title NORTHLIGHT is set once across the upper third in a tall condensed serif, letterspaced wide. Beneath it, on one line, FEB 14 TO 22 2027 REYKJAVIK. At the foot, a five-line credit block in small grotesque caps, legible but quiet, naming a director, a cinematographer, an editor, a composer and a sponsor. Every word crisp to the edge of the letterform, no extra copy anywhere in the frame.

A technical cutaway illustration of a domestic espresso machine, drawn as a precise line diagram with flat colour fills, on a warm off-white ground. The machine is sectioned so the water tank, pump, boiler, group head, portafilter, steam wand and drip tray are all visible. Seven thin callout lines run outward to labels in small grotesque caps, each line touching the part it names, reading: WATER TANK, PUMP, BOILER, GROUP HEAD, PORTAFILTER, STEAM WAND, DRIP TRAY. A one-line caption sits under the drawing reading SINGLE BOILER MACHINE, SECTIONED. Steel grey, oxide red and a single teal accent, flat tone only, no clip art, no decorative gradients.

35mm portrait of a rooftop welder at first light, cold blue dawn sky behind him with a single warm work-lamp lighting his face from the left. Early forties, weathered brown skin with real pore texture, a few days of grey-flecked stubble, sweat sheen across the forehead, deep smile lines. He wears a scuffed leather welding apron over a coarse thermal weave, and a brass-bodied torch rests in his hand with a thin curl of smoke leaving the tip. Waist-up, shallow depth of field, cranes soft behind him. Honest documentary tone, natural uneven skin, no retouching.

Using the attached photograph as the reference for the person, place the same woman in a plant nursery at midday, standing between two rows of seedling trays under a polytunnel, diffused daylight through the plastic above her. Keep her face, bone structure, eye spacing, hairline, skin tone and the small mole on her left cheek exactly as they are in the reference. Change only the setting, the wardrobe to a canvas work shirt, and the light. Three-quarter framing, natural expression, no retouching.

Replace only the four white dining chairs with pale oak chairs of the same shape and proportion. Preserve the camera angle, the framing, the table, the table setting, the rug, the floorboards and their grain direction, the wall colour, the picture frame and its position, the pendant lamp, the window, the light direction, every shadow on the floor, and the overall image quality. Keep all other aspects of the image unchanged.

Top-down photograph of a jeweller's bench in worn oak, shot square from directly above under one soft window light from the top of the frame. Exactly five tools lie in a single row across the middle, evenly spaced, left to right in this order: a steel ring mandrel, a pair of round-nose pliers, a small ball-peen hammer, a jeweller's saw frame, and a folded polishing cloth. A shallow ceramic dish holding exactly three brass rings sits above the row, left of centre. A blue enamel mug sits below the row, right of centre. Nothing else is on the bench. Real wear on every tool, fine metal dust in the grain of the wood, honest short shadows falling downward.