Split Poster with Photo and Paper Isometric Miniature

Turn each photo I upload into a separate high-end design poster—no multi-image collages; output each photo individually. Use an overall 3:4 vertical composition, with the top and bottom areas strictly 1:1 in height, each taking up 50% of the frame. The top half keeps the original photo, preserving the subject's structure, real texture, natural light and shadow, and original color atmosphere, applying only slight high-end photographic color grading to give it the quality of an art magazine, independent publication, and exhibition photography. To fit the aspect ratio, the sky, ground, or environmental background may be naturally extended, but the subject must not be stretched, distorted, or altered. The bottom half extracts the most recognizable **subject, silhouette, pose, and narrative relationship** from the photo and reconstructs them into a refined, minimalist isometric illustration, like a miniature three-dimensional model or architectural diorama displayed on paper. Do not mechanically replicate the photo's details; instead, re-express the subject with summarized masses, clear edges, simple hierarchy, and miniature scene relationships, retaining identity traits recognizable at a glance while carrying a quiet, restrained, poetic editorial-illustration temperament. The composition follows the logic of **isometric perspective, miniature landscape, and paper-model feel**: the subject appears cut out and placed on a small piece of paper or a miniature base, with large areas of white space around it, establishing a sense of scale and solitude through volume contrast, edge cropping, faint shadows, and a few tiny details. A minimal amount of auxiliary elements may support the subject, but they must not form a second visual center. The color palette is entirely extracted from the original photo above, prioritizing the most recognizable, characterful, and representative colors of the subject, then **summarizing, purifying, softening, and unifying** the complex colors into a limited palette. Preserve the photo's warm-cool relationships and color character, but reduce color noise and visual noise, making the colors calmer, more restrained, softer, and with a paper editorial-illustration feel; distinguish the masses through shades of the same color, neighboring-color relationships, and small color differences, without arbitrarily adding fixed color systems unrelated to the photo. Use fine ink lines, flat color fields, slight shadows, and paper grain to express structure and layers. Text intervenes cleverly as part of the composition, distilling a short English title from the photo's theme, location, action, state, or emotion, paired with a very small amount of numbering, short phrases, or tiny annotations. The text stays thin, restrained, with a modern editorial feel, and can be aligned along the edges of white space, the subject's base, the horizontal axis, or the isometric structure, forming a quiet and refined layout rhythm together with the graphics. Overall, reference **minimalist isometric illustration, miniature three-dimensional models, paper landscapes, and high-end editorial design**, presenting a quiet, poetic, restrained, refined, and collectible visual temperament. Avoid a cartoon feel, high-saturation color clashes, fixed color schemes unrelated to the photo, plastic 3D feel, cluttered complex scenes, an e-commerce feel, and a template feel.