Monochromer Architektur-Radierungsdruck-Umwandlung

Please create each of the uploaded European architectural travel photos as an individual, standalone monochrome architectural etching comparison poster - no multi-image collages, each photo output separately. Overall 3:4 vertical composition, with a clear but natural comparison between the original image above and the redrawn version below. The two areas typically each occupy about 50%, with minor adjustments allowed based on the proportions of the original subject, but the comparison relationship must not be removed. The upper half preserves the original photograph with high fidelity. Maintain the building's identity, main structure, authentic materials, perspective relationships, natural light and shadow, environmental scale, and original color atmosphere - only apply subtle, high-end photographic color grading to give it the quality of architectural magazines, independent publications, and exhibition photography. To fit the frame, the sky, ground, or environmental background may be naturally extended, but the building subject must not be stretched, distorted, replaced, or arbitrarily altered. The lower half extracts the building's most recognizable silhouette, structure, and spatial relationships from the original image, recomposing them as a monochrome copperplate etching or classical architectural print. Do not simply convert the entire photo into a line drawing, and do not mechanically replicate the upper composition; instead, reselect scale, cropping, and placement based on the building's characteristics. Arches, spires, domes, colonnades, or gables may be enlarged, or a continuous facade may be compressed into a horizontal rhythm, making the lower section an independently edited and refined plate that still clearly identifies the original building. Use extremely fine etched lines, parallel hatching, cross-hatching, stippling, broken lines, and a few drypoint scratches to render stone, brickwork, carvings, window tracery, metal roofing, and spatial shadows. Foreground structures are clearly defined; shadows are built through line density rather than large blocks of solid black; distant views, atmosphere, sky, and image edges gradually reduce lines and stippling, naturally dissolving into the paper, avoiding hard rectangular borders and complete photo outlines. The lower half uses a warm ivory white, natural off-white, or lightly aged paper background, retaining approximately 35%-55% continuous paper white. The subject is concentrated toward the lower-middle area, with breathing space left around all sides. The paper has restrained, realistic fiber texture, subtle indentations, and plate pressure, but should not look like dirty kraft paper or an overdone vintage filter. Each work may use only one ink color and its tonal variations. The ink color is adaptively chosen based on the original image's character from deep indigo, Prussian blue, blue-gray, charcoal ink, or warm dark ochre - but multiple colored inks must not be mixed within a single work. Volume, distance, and light are established through variations in line weight, density, overlap, and ink depletion within the same color. Based on the location, building type, form, or travel feeling in the photograph, distill a 1-3 word English title, and add a plate number in the form of "PLATE NO. 01" and a 5-10 word English observation phrase. Typography uses narrow uppercase serif lettering or old gazetteer lead type in the same color as the print, clearly legible, with slight ink depletion and paper tooth; placed in continuous white space, forming a sparse, restrained publication layout with the architectural subject. No garbled text, meaningless long passages, or large text areas that compete with the subject. Overall reference classical copperplate etching, European city gazetteers, museum architectural plates, old architectural survey volumes, and contemporary high-end editorial design - presenting a precise, quiet, rational, collectible visual character with genuine printed texture. Avoid simple black-and-white filters, pencil sketches, watercolor, gouache, comic ink lines, CAD blueprints, pure vector line art, halftone dots, multi-color printing, hard photo outlines, full-bleed without white space, hard rectangular illustration frames, 3D rendering, plastic feel, e-commerce feel, and template feel.