COMPOSITION VARIATION (this candidate only): keep the place, the people and the moment exactly as specified, but reframe like a film director choosing a different setup — a different angle, height, distance or foreground layer from the obvious one. For this candidate only, treat the CAMERA & FRAME contract above as a baseline to depart from, not a lock; the references and the shot text fix WHAT is seen, not WHERE the camera stands. Stay true to any explicit framing the SHOT TEXT itself dictates.