Photo edits stall when the brief and the file live in different tools, so a straightforward retouch is worth doing in one thread on Images 2.5 instead of exporting, restyling, and hoping the face survives. The job in front of you is small: one photograph, one change, and a person who still has to look like the person.

Supanet readers already meet how-to pieces that start from a file you have, not from a tour of every setting. This one stays on that path. A hair-color change is the worked example, because the public page itself shows that request: warm honey-brown, soft highlights, same hairstyle, same features, same room. Images 2.5 is the workspace where that sentence is supposed to be enough.

Prepare The Photo Before You Attach It

Start with a picture you are allowed to edit, and look at it before any tool does. If the face is already motion-blurred, a color pass will not invent a sharper jaw. If two people overlap, say so in the brief or crop to the person you mean. Preparation here is a minute of looking, not a color grade. You are deciding what must stay.

Name three survivors out loud: the hairstyle, the features, the room. If you cannot name them, you are not ready to ask for a change, and you will waste time arguing with a result that followed a vague sentence. A clean original also gives you something to put beside the export. Without that pair, every result looks fine.

1. Keep the original filename. Do not overwrite it with the export.

2. Note the one change in a sentence you could read to someone else.

3. Decide which three things the sentence must protect.

Use The Composer With Both Menus On Auto

The opening screen shows the composer with both menus on Auto. One menu is the model. The other is the ratio. For a retouch of a photograph you already framed, leaving both on Auto is the point: you are not designing a poster, and you are not picking an engine by reputation. The Images 2.5 AI Image Agent is supposed to match the engine after it reads the sentence. If you pin a model before you know the miss, you have added a choice you cannot yet defend.

There is a free first pass that does not ask you to sign up, described as about half a minute, and a sign-up that adds 100 credits with no card. Use the free pass to see whether the face holds. Do not treat that first frame as the master. It is a check. If the highlights landed and the room moved, you have learned the brief was loose, and you have spent almost no setup time finding out.

Attach The File Before The Sentence

Attach the photograph, then type. The order matters because a sentence with no file is a generation, and a sentence with a file is an edit. The plus control sits on the composer for that reason. If you type first and attach later, read the thread and make sure the picture is actually in the turn you are judging. A handsome portrait that never saw your file is the wrong result, however close the hair color looks.

Leave Model And Ratio On Auto

Auto on the ratio keeps the frame you uploaded instead of inventing a banner. Auto on the model lets the agent pick. You can override either later, once a real miss has a name: the face drifted, the background warped into a new room, the highlights turned orange. Until then, an override is a preference, not a fix. Preferences are how a ten-minute edit becomes an evening.

Write One Change And Name What Stays

Type the change the way you would say it across a desk. For this example: change the hair color to a warm honey-brown with soft highlights, and keep the hairstyle, the features, and the background. One change. Three keeps. If you also ask for a new shirt, a new window, and a smile, you no longer have an edit. You have a new photograph that happens to resemble someone.

Images 2.5 takes that plain sentence and expands it. You do not need a template. You do need the keeps, because an expanded prompt will happily improve things you wanted left alone. Read your sentence once before you send it. If a stranger could not tell what must not move, rewrite it. That rewrite is cheaper than a second generation.

Keep The Hairstyle Room And Face

Hair color is a surface. Hairstyle is the shape. Features are the face you would recognize in a smaller crop. The room is the proof you did not paste the person into a set. When you judge the result, score those three before you score whether the brown is warm enough. A perfect honey tone on a different jaw is a failure. A slightly dull brown on the right person can take one more sentence.

Read The Result Against Your File

Put the export next to the file you attached. Do not judge it full screen on its own. Full screen makes every portrait look intentional. Side by side, a moved window or a narrower face shows up in a few seconds. This is the whole check. If you cannot see both, you are approving a mood.

Prompt cards live on their own grid, one click away from that box, and a demo thread is a separate screen from this first pass. Neither of those screens is the comparison. The comparison is your original and this result. If the grid of examples makes the honey-brown look fashionable, ignore the grid until your own pair agrees.

Reject A Face That Has Drifted

Drift is specific. The eyes sit differently. The smile is a new smile. An earring appears that the person does not wear. Any one of those means you reject the frame, even if the color is what you asked for. Do not publish it and plan to explain. A retouch that replaces the person is not a retouch. Ask again, in the same thread, and say which feature moved.

Fix The Miss Inside The Same Thread

The follow-up is another sentence, not a new project. Say the brown may stay and the jaw must match the original. Keep the file in the thread so the agent is correcting a result, not starting over from a mood. If the second pass fixes the jaw and shifts the room, you have a new miss with a new name. Stop stacking adjectives. Name the one thing that broke.

A generation that errors does not have to be argued with; you simply run the sentence again when the thread is back. What you should not do is open a second tool for the face and a third for the color. That split is how the original gets lost and the afternoon goes with it. Images 2.5 keeps the turns together so the correction has a target.

Stop When The Person Still Matches

Stop when the hair color is close enough and the three survivors still match. Close enough is a desk decision. The highlights can be a shade off. The person cannot. If the pair next to your file still looks like the same photograph with a new color, the edit is done.

If the face will not hold after two plain corrections, the photograph needs a person, not another sentence. Send the original to someone who retouches for a living, and keep this thread as the record of what you asked. Images 2.5 is for one change you can check. It does not replace a portrait sitting.