Photo to pencil sketch editorial poster design

Please make each photo I upload into an independent high-end design poster, no multi-image stitching, output each photo individually. The overall composition uses a 3:4 vertical layout, with the upper and lower regions strictly 1:1 in height, each occupying 50% of the screen. 

The upper part keeps the original photo, maintaining the subject's identity, structure, posture, realistic texture, natural light and shadow, and original color atmosphere, with only slight high-end color grading to give it the texture of an art magazine, independent publication, or exhibition image. To adapt to the aspect ratio, the environmental background can be naturally extended, but the subject must not be stretched, distorted, or changed. 

The lower part involves a new independent artistic judgment and visual direction. Do not copy the original photo's composition, nor translate every object; first understand the themes, structural trends, subject relationships, and visual memory points truly worth preserving from the original image, then recompose through deletion, reorganization, cropping, scale changes, position adjustments, and white space. Even if the original subject is small, the background is cluttered, or the composition is ordinary, actively correct it so the lower part itself becomes a complete, valid work with aesthetic judgment. 

Reconstruct the preserved key subjects, local structures, or related objects into a theme-combined illustration in a hand-drawn pencil sketch style. Use graphite pencil outlines, natural hatching, small amounts of cross-hatching, and light gray tones, with shapes slightly loose, naive, and having an illustrative sketch feel, not pursuing academic realism or complex perspective. Only draw the most meaningful parts, allowing people to immediately feel its correspondence with the photo above, but not as a pencil copy of the photo. 

The composition emphasizes a large amount of conscious white space. White space is not a background, but a constituent element as important as the subject; arrange freely according to the subject's direction, proportion, and visual center of gravity, which can be eccentric, edge-aligned, suspended, enlarged, shrunk, or partially cropped, establishing a sense of breath, space, and editorial order through positive and negative shapes, density, dispersion, and asymmetrical balance. Better to delete information than to fill the screen. 

The overall tone is mainly black and white or natural graphite grayscale, with a very small amount of 1–2 identifying colors extracted from the original image for local emphasis. Text is only for a small amount of editorial intervention, with no restrictions on language or fixed format, freely generating a few words or short phrases based on the subject, location, mood, or metaphor, quietly blending into the white space to form the layout with the illustration. 

The overall presentation is a re-directed image, hand-drawn pencil, theme combination, active deletion, large amount of artistic white space, and high-end editorial layout. Avoid photo replication, traditional academic sketches, complex backgrounds, filled screens, overly dense details, mechanical typesetting, and a template feel.