1986 newlyweds under the mandap

Use my uploaded photo, which has two people in it. Anchor each face to its counterpart by position — left stays left, right stays right. Do not merge, average, swap or blend the two identities. Keep each face exactly as it is — same features, skin tone, age and natural asymmetry. Heavy jewellery and headwear may be added, but nothing worn may cover, shade or obscure any part of either face, and no feature may be reshaped or lightened. Change only hair, clothes, jewellery, pose and surroundings. Make us newlyweds under a wedding mandap in 1986, after dark: one in a cream mandarin-collared sherwani with covered buttons and a pale pleated turban with a fan crest, any sehra strings falling clearly above the eyebrows and not across the face; the other in a stiff deep red Banarasi silk saree with a broad zari border, hair in a low bun with jasmine pinned around it, a centre parting with a maang tikka, and a dupatta drawn over the head but held well back from the hairline so the whole face is open to camera. Thick marigold and rose garlands layered on both, hanging low on the chest and clear of the chins, with gold temple jewellery and stacked bangles. We are seated side by side on a low decorated platform, turned slightly toward each other and back to camera, composed and a little tired. Around us a cloth-draped canopy, marigold strings, a copper vessel and a low sacred fire at the edge of frame throwing warm light upward. Hard direct flash straight on flat-lighting both faces with hard glints off the zari, a compact shadow behind one shoulder, steep falloff into near-dark, and a separate warm orange glow from the fire lighting the undersides of both chins. 35mm night film: grain, warm-magenta cast, halation on the gold. Vertical 9:16, waist up on both.