scenri 0.18.2 → 0.19.0

package/templates/showcase/calder-snow-loft.json

@@ -1,29 +0,0 @@
-{
-  "id": "calder-snow-loft",
-  "title": "First snow through the loft glass",
-  "category": "seasonal",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "calder-vane-boucle-two-seater"
-      },
-      {
-        "t": "text",
-        "v": " The boucle two-seater sits angled in a raw concrete loft while the season's first snow falls thick past the floor-to-ceiling glass behind it, flakes streaking soft with a slow shutter as the room holds still. Low winter sun breaks through for a moment and rakes across the looped ivory wool, raising every loop's shadow, a mohair throw creased over one arm where someone just left. 35mm at f/2.8 at seat height, a steaming mug on the concrete floor catching the light, the plinth's shadow running out the bottom edge; a structural column blurs along the left edge, cut top to bottom."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 17,
-  "family": "place"
-}

package/templates/showcase/cypress-row-oil-frosted-rosemary.json

@@ -1,29 +0,0 @@
-{
-  "id": "cypress-row-oil-frosted-rosemary",
-  "title": "New oil, first hard frost",
-  "category": "seasonal",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "cypress-row-olive-oil"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. The morning after the first hard frost. The bottle stands sunk to its shoulders in a rosemary hedge gone white, owning the middle third of the frame height, every needle furred with hoarfrost, the low pink sun just clearing the wall behind so the frost lights up and lets go. Meltwater has run the green glass in two clean tracks. 100mm at f/2.5 from hedge height looking along the run of the hedge, the flip lid and nearest needles sharp, the hedge softening to a cold blue-white bank that runs out both side edges under the wall's coping. Nothing crosses the near field: the foreground is empty but for a drift of cold vapour lifting off the thawing hedge between lens and glass. CYPRESS ROW is hand-stamped in large clean capitals across the oat-white paper band, glued to the OUTSIDE of the front facet and clearly sitting on the exterior glass, the stamp's upper half still crisp while its lower edge has bruised and feathered where meltwater wicked into the uncoated stock."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 31,
-  "family": "botanical"
-}

package/templates/showcase/cypress-row-oil-olive-limb.json

@@ -1,29 +0,0 @@
-{
-  "id": "cypress-row-oil-olive-limb",
-  "title": "Noon, the grove going silver",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "cypress-row-olive-oil"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Bleached noon in an old grove. The bottle stands at the root flare of an olive trunk in the one narrow blade of shade it throws at that hour, filling the lower centre third of the frame. The trunk's fissured grey bark takes the left third of the picture, razor sharp, cutting the frame top to bottom while the grove beyond blazes white. A gust is in the canopy and the exposure runs long enough that the silver-backed mass overhead smears to one bright horizontal blur while the bottle stays locked. 35mm at f/8 from ground level tilted a few degrees up, dry grass crisp around the base, the glass left dry, the oil dense golden-green at the shoulder. CYPRESS ROW is hand-stamped in large clean capitals across the oat-white paper band, glued to the OUTSIDE of the front facet and clearly sitting on the exterior glass, ink sunk into the uncoated stock, its lower corner lifted and curling in the heat. The near foreground is bare sunlit ground, empty to the bottom edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 63,
-  "family": "botanical"
-}

package/templates/showcase/cypress-row-oil-running-glass.json

@@ -1,29 +0,0 @@
-{
-  "id": "cypress-row-oil-running-glass",
-  "title": "Olive oil running the glass",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "cypress-row-olive-oil"
-      },
-      {
-        "t": "text",
-        "v": " EXTREME MACRO on the bottle's brushed-steel spout, neck and square shoulder, framed 1:1 life-size; no hands, forearms or body anywhere in frame. A heavy bead of golden-green oil has run over the spout's lip and is descending the forest-green glass, necked at its waist and slow enough to leave a bright wet trail, a second thread still hanging off the steel about to release. 150mm macro at f/5.6, camera level with the shoulder, hard backlight low behind the bottle so the oil glows chartreuse where the film thins, the steel taking exactly one cold specular along the flip lid's hinge. The oat-white paper band, glued to the OUTSIDE of the front facet and clearly sitting on the exterior glass surface, enters the bottom of the frame carrying CYPRESS ROW hand-stamped in large clean capitals, ink sunk into the uncoated fibre and bloomed where oil has wicked in."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 39,
-  "family": "fluid"
-}

package/templates/showcase/fenwick-slade-long-shadow.json

@@ -1,33 +0,0 @@
-{
-  "id": "fenwick-slade-long-shadow",
-  "title": "Oak shelving, one long shadow",
-  "category": "catalog",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "fenwick-slade-open-shelving"
-      },
-      {
-        "t": "template",
-        "id": "furniture-long-shadow-gallery"
-      },
-      {
-        "t": "text",
-        "v": " Stand it tall in the right third and let the skylight's single beam launch its shadow off the feet, across the terrazzo and up through the left edge, the beam's edge readable in fine drifting dust. 35mm at f/8, camera 40cm off the floor, square to the shadow's run, the frame's top rail running out the top edge. Each oak shelf edge takes one specular line while the far corner sinks toward black. A chalk-plaster wall return stands dark in the immediate foreground, its arris cutting the left edge and bottom corner. Let the piece stand unmarked."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 57,
-  "family": "studio"
-}

package/templates/showcase/fernweg-cracked-clay-shadow.json

@@ -1,29 +0,0 @@
-{
-  "id": "fernweg-cracked-clay-shadow",
-  "title": "Dry season, long light",
-  "category": "seasonal",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "fernweg-wanderlust-oil"
-      },
-      {
-        "t": "text",
-        "v": " The steel vial stands upright in a fissure of sun-cracked earth at the very end of day, the low sun dragging its shadow a full metre across the clay plates while the kraft band glows amber along its lit edge. 50mm at f/4 at ground level shooting along the shadow's run, crack network converging toward a heat-hazed horizon, one dry grass stem leaning into the near-left corner out of focus, cut by the edge. FERNWEG reads hand-stamped small and clean into the kraft; the rollerball tip fires the frame's single brightest point."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 53,
-  "family": "geological"
-}

package/templates/showcase/fernweg-oil-heliconia-field.json

@@ -1,33 +0,0 @@
-{
-  "id": "fernweg-oil-heliconia-field",
-  "title": "Rollerball vial in the bloom field",
-  "category": "seasonal",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "fernweg-wanderlust-oil"
-      },
-      {
-        "t": "template",
-        "id": "heliconia-bloom-field"
-      },
-      {
-        "t": "text",
-        "v": " Stand it upright in the crook where two bracts cross, then let the upper bract tip and dump the rain it has collected — a rope of water sheeting down its side, beads flung off the waxy red edges. The kraft band darkens and goes translucent where the water took it, one seam corner lifted and curling, the pressed FERNWEG ink sunk deep into the wet uncoated stock. 35mm at f/2.8 from ground level looking up so the bracts tower over it. A rain-loaded leaf blurs across the bottom-left, cut by the left and bottom edges. The mark named above is deliberate art direction: disregard the later Avoid clause forbidding text, labels, stickers or engraving on this product."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 91,
-  "family": "botanical"
-}

package/templates/showcase/fernweg-vial-soap-loaf.json

@@ -1,29 +0,0 @@
-{
-  "id": "fernweg-vial-soap-loaf",
-  "title": "Rollerball vial in a cut soap loaf",
-  "category": "beauty",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "fernweg-wanderlust-oil"
-      },
-      {
-        "t": "text",
-        "v": " A cold-process soap loaf has just been cut, the halves parted a finger's width, the cut still glossy, an ochre-and-clay swirl through the body. The vial stands upright in the gap, collar level with the cut, holding a third of the frame width. 100mm macro at f/4, framed 1:1 life-size, camera level with the cut face, both faces parallel to the sensor in one focal plane; a low soft source from camera-left in the last hour of afternoon passes through the soap's edge until it glows translucent, the steel taking one long cool streak. FERNWEG runs horizontally around the kraft band in one line of upright capitals, every letterform complete and unbroken, only the faintest tooth-skip at the edges; the wrap seam falls between two letters so one stem rides the lap. The rollerball is one polished ball in a single plain stepped collar with one narrow threaded ring, nothing stacked above it. The near half crosses the bottom third sharp, occluding the vial's base; the far half runs out the top edge and the sides crop into soap. One bead of oil stands proud at the rollerball, not yet falling."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 42,
-  "family": "material"
-}

package/templates/showcase/ferro-beach-cooler.json

@@ -1,29 +0,0 @@
-{
-  "id": "ferro-beach-cooler",
-  "title": "Sideline cooler, hard sun",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "ferro-sons-yuzu-soda"
-      },
-      {
-        "t": "text",
-        "v": " A hand pulls the can straight up out of a steel cooler packed with crushed ice at a beach volleyball sideline, ice water sheeting off the matte body and beads flying where the wrist snaps, hard noon sun putting one clean specular down the pale-yellow flank. 85mm at f/2.8 at cooler height, the net and a diving player dissolved to bokeh far behind, a striped towel and a second dripping can blurred in the near foreground, cut by the bottom edge. FERRO & SONS sits small in the green stripe, condensation standing proud over the ink."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 89,
-  "family": "fluid"
-}

package/templates/showcase/ferro-yuzu-pressure-jet.json

@@ -1,29 +0,0 @@
-{
-  "id": "ferro-yuzu-pressure-jet",
-  "title": "Yuzu soda under pressure",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "ferro-sons-yuzu-soda"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. The brushed-aluminium lid stays whole — seamed rim, domed centre, rivet and ring pull-tab in place — only the narrow scored slot beside the tab cracked open. The jet leaves through that slot alone, a column of cloudy pale-yellow yuzu soda threaded with fine carbonation, clean for two hand-widths then fanning, every droplet on one arc off the slot, sizes falling away along it. The citrus-green stripe stays one unbroken horizontal band where the water track crosses it; condensation reads as discrete separated beads with bare matte coat between them. 85mm at f/11 at can height on a saturated citrus-green seamless, hard flash from camera-left freezing the fan, no daylight in the room, a white bounce at camera-right holding the flank to its reference pale cream-yellow, not the ground's green. The rolled base sits flat with a hard contact shadow directly beneath it, no gap; the can holds half the frame height, green runs unbroken to the bottom edge, spray cuts the top."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "standard",
-  "width": 1024,
-  "height": 1280,
-  "order": 29,
-  "family": "fluid"
-}

package/templates/showcase/fieldnote-camera-precision-bench.json

@@ -1,33 +0,0 @@
-{
-  "id": "fieldnote-camera-precision-bench",
-  "title": "The bench takes a measurement",
-  "category": "launch",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "fieldnote-rangefinder-camera"
-      },
-      {
-        "t": "template",
-        "id": "precision-bench-anodised"
-      },
-      {
-        "t": "text",
-        "v": " Read the matte-black anodised device with the milled edges, machined side vent and knurled control that follows as this silver-top-plate rangefinder camera instead, and let the bench work on it: the dial indicator's chrome stand has been walked in until its plunger sits down on the top plate just behind the empty hot shoe, the needle a third off zero on a plain unnumbered face. 80mm at f/11 from forty-five degrees above the granite, thirty centimetres out and square to the grid, so the whole top plate opens up without collapsing the body — both knurled dials, the concentric collar switch at the right dial's base and the round finder window all read, the fixed prime pointing camera-left with one bright line along its milled aperture ring. Body about two-thirds of the frame width at true palm scale, its base plate flat to the lapped granite with a hard contact shadow and no gap. FIELDNOTE is engraved and paint-filled in clean capitals across the top plate, large and easily read. The wrung gauge-block stack stands tack sharp at frame-left, its corner cutting the bottom edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 52,
-  "family": "studio"
-}

package/templates/showcase/halcyon-drive-in.json

@@ -1,29 +0,0 @@
-{
-  "id": "halcyon-drive-in",
-  "title": "Looking up from the hood at dusk",
-  "category": "launch",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "halcyon-aura-speaker"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph, edge to edge, no border, frame or letterbox band. The speaker stands on the hood of a vintage coupe at an open-air drive-in, last light gone amber behind the lot. Camera dropped onto the hood itself, lens axis level with the bottom of the woven grille band and tilted up 8 degrees so the cylinder towers, shot at 85mm from three metres back so its sides stay parallel with no keystoning, the machine holding half the frame height. The giant screen's pale wash comes from the front and rakes the brushed warm-silver shell into one long anisotropic streak, never a mirror; the charcoal fabric grille resolves thread by thread with HALCYON woven tone-on-tone catching that wash along its letters; the single matte amber top button burns as one warm point on the far rim above. The rubberised base ring meets the paint with a hard contact shadow and a tight reflection under it, no gap. A windshield edge blurs across the bottom-right corner, cut by both edges; power cables cross the sky out the top corners."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 32,
-  "family": "place"
-}

package/templates/showcase/harlow-basket-attic-light.json

@@ -1,33 +0,0 @@
-{
-  "id": "harlow-basket-attic-light",
-  "title": "Rattan lattice in the sun bar",
-  "category": "lifestyle",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "harlow-made-woven-rattan-basket"
-      },
-      {
-        "t": "template",
-        "id": "interiors-attic-reading-nook"
-      },
-      {
-        "t": "text",
-        "v": " Set it on bare boards square in the late bar of sun and let the open weave shred the light into a lattice running toward the lens and out the bottom edge; the dormer and rafters climb out through the top. 28mm at f/4, camera flat on the boards at rim height. Cold blue skylight from the far gable washes the shadowed half of the boards so the warm bar reads against it. A small dark leather tab riveted to the rolled rim carries a blind-debossed unlettered maker's mark, shadow pooling in the impression. The out-of-focus corner of a folded wool throw crosses the bottom-right corner, cut by the right edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "standard",
-  "width": 1024,
-  "height": 1280,
-  "order": 77,
-  "family": "place"
-}

package/templates/showcase/hollow-reed-honey-heather-wind.json

@@ -1,29 +0,0 @@
-{
-  "id": "hollow-reed-honey-heather-wind",
-  "title": "Rain squall on the heather moor",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "hollow-reed-wildflower-honey"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed, edge to edge, no border or letterbox band. A squall on a high moor in late August: no sun, flat silver light from the whole sky and nothing behind the jar, so the honey sits two stops under the sky — a near-opaque dark brown-amber mass, its only bright lines the meniscus at the shoulder and facet corners catching silver. The lid is turned solid oak: a tall straight-sided cylinder as deep as it is wide, softly rounded on top, no wider than the jar's shoulder, its fine parallel grain readable through the water film — wood, never cork, no porous mottle, clean glass below its skirt. The jar sits on a soaked granite slab, base flat to the stone with a hard dark contact line beneath it and no gap, owning half the frame. Bell heather is knocked flat all round, stems horizontal, all pointing downwind. One shutter throughout: rain reads as short bright streaks everywhere, including off the lid — no frozen droplets, no splash crown. 65mm at f/4 from just above slab height, the hill lost in rain-haze within twenty metres; heather runs out both side edges, the slab out the bottom."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 45,
-  "family": "botanical"
-}

package/templates/showcase/hollow-reed-honey-light-well.json

@@ -1,33 +0,0 @@
-{
-  "id": "hollow-reed-honey-light-well",
-  "title": "Honey coil in the light well",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "hollow-reed-wildflower-honey"
-      },
-      {
-        "t": "template",
-        "id": "studio-vertical-light-well"
-      },
-      {
-        "t": "text",
-        "v": " Stand the open jar at the base of the well so the single overhead beam drops straight down its axis, and catch a thread of honey descending from a lifted dipper — the falling thread igniting inside the beam like drawn glass, coiling on itself at the surface, the coil sharp. 100mm macro at f/4, framed 1:1 life-size on the rim and the amber pool, everything past the beam's edge falling to warm black. A letterpressed uncoated paper label is glued to the outside of the front facet, reading HOLLOW REED in large clean type, one corner lifting. The dipper's handle blurs out the top edge; the near facet cuts the bottom-left corner."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 33,
-  "family": "material"
-}

package/templates/showcase/hollow-reed-honey-meadow-bee.json

@@ -1,29 +0,0 @@
-{
-  "id": "hollow-reed-honey-meadow-bee",
-  "title": "Hex jar down at flower height",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "hollow-reed-wildflower-honey"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Down at flower height in a late-July hay meadow: the jar stands in the tangle where red clover, yarrow and knapweed grow through one another, lid seated, owning the middle third of the frame height. A honeybee works a clover head a hand's width in front of the glass, and that head is held every bit as sharp as the jar, floret by floret, the bee's wings the only smeared thing in the picture. Seven a.m. sun comes from behind and low, firing the honey amber inside the facets and dropping a warm patch of that colour on the stems in front. 90mm at f/2.8 with the camera lying in the grass, stems crossing at every angle and burning out to a green-gold haze behind, pollen hanging in the beam, grass running out both sides and over the top. A letterpressed uncoated paper label is glued to the OUTSIDE of the front facet, clearly on the exterior glass surface, HOLLOW REED reading in large clean capitals with one corner lifting and a grass seed caught under it."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 75,
-  "family": "botanical"
-}

package/templates/showcase/holloway-rings-gilders-cushion.json

@@ -1,29 +0,0 @@
-{
-  "id": "holloway-rings-gilders-cushion",
-  "title": "Stacking rings on the gilder's cushion",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "holloway-stacked-band-set"
-      },
-      {
-        "t": "text",
-        "v": " The three bands lie in the suede nap of a gilder's cushion beside a torn book of loose gold leaf; one leaf has lifted on a draught and buckles mid-air into a bright crumpled ribbon, its edge already tearing, throwing a moving warm bounce across the brushed rose-gold band. Red bole shows through where earlier leaf was skived, and an agate burnisher lies across the corner with the hammered white-gold band propped on end against it so its interior wall faces the lens. 100mm macro at f/4, framed 1:1 life-size, camera level with the cushion under one soft north window from camera-left at mid-morning, the lifted leaf the only thing in the frame that is moving. Inside that propped band the HOLLOWAY maker's punch is struck unlettered - a single pressed dome, no letterforms - pooling one bead of shadow; the three bands together fill roughly half the frame width. Torn leaf fragments blur across the bottom-left corner, cut by both edges."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 69,
-  "family": "material"
-}

package/templates/showcase/holloway-rings-indigo-fold-trough.json

@@ -1,33 +0,0 @@
-{
-  "id": "holloway-rings-indigo-fold-trough",
-  "title": "One window, three answers",
-  "category": "editorial",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "holloway-stacked-band-set"
-      },
-      {
-        "t": "template",
-        "id": "indigo-fold"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Read the squat apothecary bottle and its black lacquer cap that follow as the three gold bands instead, and none of the layered botanicals: no thistle head, no halved artichoke, no eucalyptus sprig. Gold is the one saturation that breaks the indigo. The linen is pinched into one standing ridge held by its own crease memory, and the three bands are stacked onto it in fixed order as they would sit on a finger: cloth doing the work of a hand. Nothing is pressed or lifted and the cloth carries no trace of them. One light, asked the same question three times: the cool north window rakes low from camera-left, polished yellow throws it back as one hard mirrored bar, brushed rose smears it into a long soft sheen, hammered white shatters it into two dozen small suns. 100mm macro at f/5.6, framed 1:1 life-size, dead level with the ridge, no hand in frame, the bands spanning the middle third over black fold shadow. Nothing crosses the near field. The bands stay unmarked."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 61,
-  "family": "material"
-}

package/templates/showcase/holloway-rings-loupe-surface-plate.json

@@ -1,33 +0,0 @@
-{
-  "id": "holloway-rings-loupe-surface-plate",
-  "title": "Stacking set under the loupe",
-  "category": "catalog",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "holloway-stacked-band-set"
-      },
-      {
-        "t": "template",
-        "id": "precision-bench-anodised"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Read the subject as three gold bands, and the scene's blue sine bar and red clamp as bare steel and black anodising: every fixture here is steel, black anodising or charcoal granite, the golds the only chroma. Exactly three bands, no fourth: the polished yellow flat band and brushed rose half-round lie on the lapped granite, each tipped on a visible steel shim; the hammered white-gold band lies at the row's end under a steel loupe on its barrel, seen only through the 10x element it fills edge to edge. Magnified, the hammering reads as shallow round dimples the interior wall carrying one unlettered strike - a struck depression holding pooled shadow, no specular crown. 100mm macro at f/11, framed 1:1 life-size so the frame spans barely a hand's width of granite, camera thirty degrees above, flat overhead calibration light, focus stacked. Bands and loupe fill the lower two-thirds; granite runs out both sides, the chamfer crops the base."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 44,
-  "family": "optical"
-}

package/templates/showcase/julien-almanac-fisheye.json

@@ -1,37 +0,0 @@
-{
-  "id": "julien-almanac-fisheye",
-  "title": "Flash, fisheye, curb height",
-  "category": "social",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "almanac-supply-canvas-low-top"
-      },
-      {
-        "t": "character",
-        "id": "julien"
-      },
-      {
-        "t": "template",
-        "id": "editorial-fisheye-flash-studio"
-      },
-      {
-        "t": "text",
-        "v": " Shot from curb height on a fisheye, hard on-camera flash: he jumps the frame's center, knees pulled up mid-air, both low-tops driving toward the lens so the gum soles read huge against the curved seamless behind. 15mm fisheye at f/8, flash freezing her sharp with one hard shadow ring on the floor, the studio's edges bowing away. Boxy white tee, cuffed straight indigo denim, white crew socks, the canvas low-tops fully laced and dominating the near field. His trailing hand blurs slightly at the frame's bowed edge, cut by the top-right corner."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "standard",
-  "width": 1024,
-  "height": 1280,
-  "order": 41,
-  "family": "human"
-}