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, independent publications, and exhibition photography. To fit the frame, the sky, ground, or environmental 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 and reconstructs them into a surreal minimalist printmaking visual. Compress the subject into a clear and restrained visual anchor, usually placed at a small scale within a vast area of negative space, retaining only the most crucial outline and pose; do not replicate complex details, but instead transform the movement, direction, light and shadow, or spatial relationships in the original image into a **dynamic field** unfolding around the subject.

For the dynamic field, naturally select one primary movement logic according to the subject's own characteristics: it may fall from top to bottom, rise vertically, flow in a certain direction, spread outward from the core, or form irregular ripples and echoes. Use large quantities of fine lines, broken trajectories, rough halftone dots, and shifts in particle density to express motion—denser and stronger near the core, then gradually sparser and more fragmented toward the edges until they disappear into the negative space. Avoid stacking multiple effects at once; make **one subject, one movement, and one immense spatial relationship** the core of the image.

Extract **the single most recognizable and spirited primary color** from the photo above and combine it with warm white, ivory, or natural paper color and a small amount of black to form a strict 2–3-color system. The primary color may be moderately purified and intensified so that it is vivid and powerful without becoming overly digital; create light and dark through halftone density, ink overprinting, and exposed paper rather than ordinary gradients. Retain screen-printing, Risograph, coarse grain, paper fibers, uneven ink coverage, and slight registration offsets; avoid CG, 3D, realistic lighting effects, and the feel of smooth digital illustration.

The text establishes a restrained **experimental art-book microtypography system**. Distill an extremely short title from the photo's movement, distance, state, emotion, or metaphor, and pair it with 2–4 groups of miniature text, freely combining short phrases, state words, place or object information, serial numbers, coordinate-like numbers, direction words, archival labels, or observational notes. Text may be arranged along the horizon, dynamic trajectories, the subject's axis, or the edge of the negative space; it may also be set vertically, rotated, widely letter-spaced, embedded in the particle field, or lightly crossed by lines, so that the typography itself participates in space and movement rather than being pasted onto the image as a separate element.

The overall pursuit is **an extremely small subject, immense negative space, strong contrast of scale, a single dynamic field, and a rough printed texture**, presenting an experimental editorial visual that is quiet, lonely, mysterious, poetic, and slightly surreal. Whether the subject is a person, animal, plant, building, object, vehicle, or natural landscape, maintain a clear correspondence of identity between the real photography and the abstract field below, avoiding complex scenes, multiple focal points, accumulated decoration, ordinary gradients, a commercial-poster feel, and a template feel.