Pixelated Landscape Editorial Poster

Please turn each of the travel photos I upload into an independent high-end editorial poster, with no multi-image splicing, each photo output individually. The overall layout uses a 3:4 vertical top-bottom contrast composition, with the upper and lower areas approximately 1:1, separated by a straight, clear, and clean horizontal boundary. Do not feather, permeate, or layer; do not shrink the original image into an icon, rounded card, or floating thumbnail. The upper half must retain the high-fidelity original photo. Accurately maintain the identity and quantity of subjects, architectural outlines, roof and window/door proportions, human poses, vehicles, bridges, boats, road directions, foreground/background occlusions, observation angles, real materials, natural light and shadow, and the original color atmosphere. Apply only slight, restrained color grading at the level of travel magazines, art publications, or photography exhibitions, and add a very thin film grain. Do not turn photos into illustrations; do not move, replace, add/delete, or distort subjects; do not change architectural and street perspectives. The lower half, on a warm off-white or light ivory paper surface, reorganizes the same scene into an 'artificial pixel vanishing landscape' with a large amount of white space. This is not a photo mosaic filter, nor is it lowering the resolution of the entire photo. First, select the most recognizable visual anchor from the photo, such as a bridge, a section of colored facade, a dome, a motorcycle, a bicycle, a boat, a gatehouse, or a group of clear roofs, then retain only the minimum elements that can illustrate the location and spatial relationship. Adopt a reduced and refined secondary composition: the subject usually occupies only about 30%–50% of the width and about 30%–50% of the height of the re-rendering area, concentrated in the middle-lower part, slightly to the left or right, and naturally arranged according to the direction of the original photo. Keep at least 50%–65% of the complete off-white paper surface blank on all sides. Do not completely fill the lower area with the original street scene. Only two or three layers of sparse pixel hints are kept in the background. Remove repeating window panes, fine tile lines, small signboard text, tourist shadows, dense pipelines, foliage, and photographic noise, but do not delete the eaves, bridge arches, domes, vehicle outlines, human poses, or road directions that determine the identity of the subject. Rebuild the body using discrete pixel blocks with clear edges, square or near-square: - Build the main outline, volume, light/shadow, and main color surfaces of the subject with medium-sized pixel blocks. - Use smaller, denser pixel blocks at key identification points such as eaves, spires, dome edges, window/door proportions, bridge arches, human poses, wheels, and prows. - Gradually reduce pixel density at the outer edges of buildings, vegetation, road surfaces, water surfaces, reflections, and distant views, causing squares to disconnect, dislocate, scatter, and disappear onto the paper surface. - The interior of the subject is relatively complete, and the periphery forms a clear pixel vanishing zone. - Vanishing must come from the decrease in the number and density of independent squares; do not use soft focus, feathering, smoke, transparent gradients, or pixel stretching. - A small number of discrete blocks can leave the subject along eaves, road perspective, water flow, terrain, or movement direction, but must not become random digital glitches. The color scheme is completely extracted from the current photo and compressed into about 6–12 main color steps. Retain the subject's 1–3 most recognizable colors, and then use adjacent light and dark colors to establish volume. Environmental colors are reduced in saturation and unified to natural gray, slate gray, gray-blue, gray-green, wood brown, or the photo's own architectural colors. A small area of high-saturation color that actually exists in the photo can be used as a visual focal point, such as tail lights, doors and windows, or clothing colors. The off-white paper surface must be the largest color in the re-rendering area...