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đ´ââ ď¸ Stop Blaming the AI for Bad Images
Write Prompts Like a Shot
Six months ago, I was sure the AI just âwasnât that good.â
Then I realized something uncomfortable: my prompts were lazy.
If you ask for a âcool cyberpunk city,â youâre not directing a scene, youâre tossing a vague wish into a slot machine.
A talented Reddit creator made that point so clearly it snapped my brain into place.
Their big idea is simple: stop describing a thing and start describing a shot.
Once you do, the image quality jumps, even if you change nothing about the model.
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Stop Blaming the Model
Stop blaming the AI model for your average images; the real problem is likely a lack of structure in your request.
I used to type short prompts and pray. âCool cyberpunk city.â âEpic knight.â âCozy cafĂŠ.â Sometimes it worked, often it didnât, and I always blamed the tool. But this creator reframed the problem in a way I couldnât unsee: most prompts fail because we describe an object, not a cinematic moment. AI canât read your mind, so it fills in the gaps with generic defaults, and those defaults are exactly what make images look cheap.
The fix is not âbetter adjectives.â Itâs structure. A template that forces you to decide what you actually want before you generate anything.
It Is Not About Magic Words
The creatorâs point is refreshing: consistency comes from controlling variables, not finding a secret phrase. When you specify lighting, camera angle, lens vibe, mood, and materials, you remove guesswork. And the less the model guesses, the less it drifts into that plastic, random, samey look.
Think like a cinematographer for 30 seconds. Whatâs the camera doing. What time of day is it. Whatâs the light source. Is the scene crisp or hazy. Are we close and intimate, or wide and epic. Youâre not âprompting,â youâre making decisions.
The 10-Part Framework
The original poster breaks prompts into 10 sections: Subject, Action, Environment, Mood, Style, Lighting, Camera, Detail, Quality, and Negative Constraints. You donât need to be a pro to use it. You copy the list, then fill the blanks like a checklist.
If you only remember one thing, remember this: Camera, Lighting, and Negatives do most of the heavy lifting. Camera tells the model how to frame reality. Lighting tells it how to sculpt depth. Negatives tell it what to avoid when it tries to âhelp.â
Thatâs the difference between ânice illustrationâ and âframe from a movie.â
Different by design.
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The âLock and Loopâ Method
Hereâs the editing advice that saves the most time: donât rewrite everything when one thing is off. First you lock the story, meaning the subject and action. Then you lock the shot, meaning camera and lighting. After that, you loop changes one section at a time.
If a face looks weird, you adjust negatives. If the background changed when you didnât want it to, you touched too many knobs at once. This method prevents that annoying problem where you fix an eye and accidentally lose the entire vibe of the scene.
Specific Fixes for Flat Images
The contributor also gives practical âtry this firstâ fixes. Flat image? Add rim light or volumetric haze so edges separate and the scene gains depth. Generic style? Add three concrete, photographer-level details, like wear on leather, dust motes, or fingerprints on glass. Those details donât just decorate the image, they guide texture, realism, and focus.
This approach takes the guesswork out of image generation.

