Retro travel montage poster design

Please turn each travel photo I upload into an independent high-end travel stylized poster. One photo corresponds to one finished product; do not combine multiple photos into a grid or collection.

The overall composition uses a 3:4 vertical poster layout, clearly maintaining the contrast between the original photo and the stylized transformation.

The top portion occupies about 40%—45% of the frame, faithfully preserving the original photo. Accurately maintain the subject identity, quantity, posture, architectural structure, vehicle direction, topographical relationships, observation angle, real materials, natural lighting, and original color atmosphere of the photo, only performing minor travel magazine and artistic publication color grading, and adding a very thin layer of film grain. The top must remain a clearly identifiable real photo, not illustrated, redesigned in terms of the subject, or have the location replaced.

The bottom portion occupies about 55%—60% of the frame, reconstructing the same photo into a "vintage travel mask montage."

This is not about adding a halftone filter to the entire photo, nor is it about redrawing it according to the same composition. First, analyze the photo to lock onto one core subject that best represents the location or event, then extract 4—7 auxiliary elements with distinct outline differences.

Extractable elements include:
- Main landmark or building spire
- Secondary roofs, towers, doors/windows, or sculptures
- Boats, vehicles, bicycles, or other transportation
- People, animals, or local artifacts
- Trees, flags, umbrellas, signboards, or market goods
- Directional structures such as roads, water surfaces, railings, or horizons

All elements must come from the same original photo; do not add Buddha statues, lanterns, elephants, people, buildings, or any regional symbols unrelated to the original scene out of thin air.

Make the extracted objects into independent photographic mask layers. Use outline cutouts, coarse-grain black and white halftones, partial cutouts, monochromatic ink plates, screen printing color plates, ink shortages, paper fibers, rough edges, and slight color registration offsets.

Reposition and resize these objects, changing their cropping, front-to-back positioning, and overlapping relationships:
- The largest subject occupies about 55%—95% of the stylized area height and can be boldly cropped by the frame edges.
- The second subject uses a significantly different scale, passing in front of or behind the main element.
- Small vehicles, roofs, plants, flags, or artifacts serve as rhythmic connections.
- At least 5—8 identifiable photo elements must appear.
- Do not arrange elements evenly like a material board, cards, or a regular grid.
- Do not follow the complete perspective and original scale relationships of the original photo.

Add 1—2 translucent or opaque rectangular or irregular color blocks, passing behind some objects and creating overprinting and masking relationships with the halftone layers. Color blocks are used to separate space and establish hierarchy; they cannot simply cover the entire background.

The color palette is extracted entirely from the original photo and compressed into 3—5 vintage printing ink colors:
Warm cream white or old ivory paper color, the deepest shadow color, and 2—3 local colors most representative of the original scene. You can use black-brown, deep indigo, brick red, ochre yellow, grey-green, faded pink, or colors that actually exist in the photo. Overprinting to form mixed colors is allowed, but avoid rainbow-like effects, high-saturation clashing colors, and fixed orange-blue templates.

The bottom image can be dense and impactful, but must retain about 15%—25% of continuous old paper or solid color fields. Negative space should form a clear contrast of weight and density with the dense objects and provide a stable position for text.

Extract the following text based on the location, subject, and mood of the photo:
1. A readable main title of 1—3 English words.
2. A short printed field, such as "EDITION 01" or "TRAVEL STUDY".
3. One observation sentence of 5—10 English words, describing only the scenery, actions, colors, or spatial relationships actually visible in the photo.

Concentrate text in continuous old paper empty spaces, solid color blocks, or quieter gaps between objects; do not distribute them evenly to the four corners. Use condensed old serif, compressed sans-serif capitals, or bold lead type. The text and images should use the same ink language, with slight ink shortages, paper teeth, halftones, and color registration offsets. The main title must be clearly readable at chat preview size.

The overall presentation combines the temperament of old travel publications, vintage cultural posters, coarse halftone photographic montage, and contemporary editorial design. The image should be dense but clearly hierarchical, gritty but not cheap, with a distinct sense of location identification and collectability.

Mandatory Avoidance:
Full photo filters, redrawing with the same composition, single landmark engravings, extracting only two or three elements, even-sized arrangements, regular grids, nine-square grids, framing each object independently, scrapbook tape, modern smooth vectors, transparent watercolors, cartoon illustrations, 3D collages, cultural symbol templates, cross-location landmark mixing, full-background color blocks, no continuous negative space, unreadable small text, fake Chinese, gibberish, author names, signatures, logos, URLs, QR codes, and watermarks.

Most important rule: Multiple real objects must be extracted from the same travel photo, made into mask halftone layers of different colors and sizes, and then a dense and orderly travel montage must be reconstructed through enlargement, cropping, overlapping, overprinting, and color block interspersing.