Original style prompt

Please make every photo I upload into its own standalone high-end design poster; no multi-image collages, each photo output separately. The overall composition uses a 3:4 vertical format, with the upper and lower zones strictly 1:1 in height, each taking up 50% of the frame.

The upper half keeps the original photo, preserving the subject's structure, real texture, natural light and shadow, and original color atmosphere, applying only a slight high-end photographic color grade so that it carries the texture of art magazines and exhibition photography. To fit the frame, the sky, ground, or surrounding background may be extended naturally, but the subject must not be stretched, distorted, or altered.

The lower half extracts the most recognizable **subject, outline, pose, and narrative relationships** from the photo, compresses the complex information into a single visual anchor, and reconstructs it as a minimalist screen print and halftone print poster. Do not trace the photo or add rich illustrative details. Retain only the single most critical shape, action, or spatial relationship, allowing the subject to remain instantly recognizable with extremely little information.

The composition follows “**one subject, one direction, one spatial relationship**.” The subject usually remains at a small scale, using large areas of negative space to create a sense of distance and poetry. Based on the relationships inherent in the original image, choose only the single most natural structure: horizontal extension, vertical extension, isolated suspension, outward dissipation, or progression from shallow to deep; do not use multiple compositional techniques at the same time. A single horizon, boundary, shadow, or halftone band may be used to establish space, making the blank space itself the main component of the image.

Do not directly copy the photo's colors. Instead, distill its overall color temperature, value, and mood and reorganize them into a limited spot-color system of **paper ground color + main ink color + haze-layer color**. Use off-white, warm gray, or natural paper color for large areas of negative space; use one calm, weighty composite color as the main ink color; then use lighter, grayer colors from the same family to represent air, distance, or layers. Keep the overall palette to 2–3 colors, building hierarchy through color area, value, and halftone density. An extremely small accent color is allowed only when it has clear narrative significance.

All mist, distance, shadows, dissipation, and spatial transitions use **halftone dots that naturally disappear from dense to sparse**; do not use digital blur or ordinary gradients. Preserve paper grain, screen-printing ink, slight misregistration, and uneven ink coverage, making the image look like an art print genuinely printed on old paper.

**Retain a small decorative text system with a sophisticated editorial feel.** Do not limit it to place names. Instead, derive an extremely short title from the photo's theme, emotion, time, action, material, distance, or metaphor in the user's specified target language, and pair it with micro body text, a number, year, chapter number, coordinate-like digits, an archival mark, or one understated sentence. The copy may be somewhat abstract, literary, and curatorial in tone and does not need to explain the image fully—for example, it may concern concepts such as “distance, stillness, passage, echo, boundary, time, light, and trace”—making it resemble editorial annotations in an art book, architecture journal, or independent exhibition.

The text itself must participate in the composition rather than being added to empty space afterward. Small text may be **arranged along the horizon, fitted to the subject's outline, used as a vertical visual axis, extended across a halftone boundary, hidden in negative shapes, or placed in relationships of occlusion, interweaving, interruption, and alignment with the subject**. Extremely fine vertical lines, short horizontal lines, numbers, and page-number-like symbols may also be used to establish rhythm with large areas of negative space. A word may be split apart, set vertically, widely letter-spaced, or partially obscured by graphics, but reading order must always be maintained.

Keep the text hierarchy restrained: **one extremely short main title + 1–3 groups of extremely small supporting text are enough**. Typography should reference sophisticated art publications and modernist editorial design, using restrained sans serif, gentle serif, or minimalist condensed typefaces. Create refinement through extreme contrast in type size, wide letter spacing, light font weights, superscripts and subscripts, small caps, and asymmetrical layout. Text colors should match the main ink color or haze-layer color and may carry slight misregistration and ink grain so that text and graphics belong to the same printing pass rather than the text appearing as a digital typesetting overlay.

Overall, pursue **extremely few elements, extremely large negative space, an extremely small subject, extremely strong order, and subtle, intelligent textual intervention**, presenting a sense of quiet, solitude, vastness, understatement, poetry, erudition, and collectibility. Avoid complex compositions, multiple focal points, meaningless decoration, large headlines that overwhelm the image, commercial advertising copy, ordinary gradients, cheap vintage filters, and a templated look.