Conversion d'impression d'eau-forte architecturale monochrome

Please create a separate premium monochrome architectural etching print comparison poster for each European architectural travel photo I upload, without combining multiple images - each photo is output individually. Overall, use a 3:4 vertical composition, with a clear but natural side-by-side comparison between the original image and the converted drawing in the upper and lower sections. The two areas usually each take up about 50%, with minor adjustments allowed based on the proportions of the original subject, but the comparison relationship with the original image must not be removed. In the upper half, preserve the original photo with high fidelity. Maintain the building's identity, main structure, authentic materials, perspective relationships, natural lighting, environmental scale, and original color atmosphere, applying only subtle high-end photographic color grading to give it the quality of architectural magazines, independent publications, and exhibition photography. To fit the frame, you may naturally extend the sky, ground, or surrounding environment, but you must not stretch, distort, replace, or arbitrarily alter the building itself. In the lower half, extract the building's most recognizable outline, structure, and spatial relationships from the original image and reconfigure them into a monochrome copperplate etching or classical architectural print. Do not simply convert the entire photo into a line drawing, and do not mechanically copy the composition of the upper half; instead, reselect the scale, cropping, and placement based on the building's characteristics. You may enlarge arches, spires, domes, colonnades, or gables, or compress a continuous facade into a horizontal rhythm, so that the lower section becomes an independently edited and refined plate while still being instantly recognizable as the original building. Use extremely fine etching lines, parallel hatching, cross-hatching, stippling, broken lines, and a few drypoint scratches to render stone, brick walls, carvings, window mullions, metal roofing, and spatial shadows. Foreground structures should be clearly defined, with shadows built through line density rather than large blocks of solid black; distant views, atmosphere, sky, and image edges should gradually reduce lines and stippling, naturally dissolving into the paper, avoiding hard rectangular borders and complete photo outlines. The lower half should use a warm ivory white, natural off-white, or slightly aged paper background, retaining about 35%-55% of continuous paper white. The subject should be concentrated mainly in the lower-middle area, with breathing space left on all sides. The paper should have subtle, restrained fiber texture, small indentations, and plate pressure marks, but should not look like dirty kraft paper or an overly vintage filter. Each work may use only one ink color and its tonal variations. The ink color should be adaptively chosen from deep indigo, Prussian blue, blue-gray, charcoal ink, or warm dark ochre based on the character of the original image, but multiple colored inks must not be mixed within the same piece. Volume, distance, and light should be established through variations in line weight, density, overlap, and broken ink within the same color. Based on the location, building type, form, or travel feeling in the photo, distill a title of 1-3 English words, and add a plate number in the form of "PLATE NO. 01" and one observation sentence of 5-10 English words. Use narrow uppercase serif lettering or old gazetteer type in the same color as the print, clearly legible, with slight broken ink and paper tooth; place it in continuous white space, creating a spacious, restrained publication layout in relation to the architectural subject. Do not include garbled text, meaningless long passages, or large areas of text that compete with the subject. The overall reference is 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 quality with a genuine printed texture. Avoid simple black-and-white filters, pencil sketches, watercolor, gouache, comic ink lines, CAD blueprints, pure vector line art, screen-printed halftone dots, multicolor printing, hard photo outlining, full-bleed without white space, hard rectangular illustration frames, 3D rendering, plastic feel, e-commerce feel, and template feel.