Pôster de Design de Prompt para Reconstrução de Plantas

Please create each photo I upload into one independent, high-end design poster - no multi-image collages, each photo output separately. Overall use a 3:4 vertical composition, with the upper and lower zones strictly 1:1 in height, each occupying 50% of the frame. The upper half keeps the original photo, preserving its subject structure, authentic texture, natural light and shadow, and original color atmosphere - only light, high-end photographic color grading is applied to give it the quality of art magazine, independent publication, and exhibition photography. To fit the format, the sky, ground, or environmental background may be naturally extended, but the subject must not be stretched, distorted, or altered. The lower half extracts the most recognizable subject, silhouette, gesture, and narrative relationship from the photo, and reconstructs it as an editorial illustration assembled from real natural materials. Use clearly identifiable leaves, petals, branches, fruits, seeds, grass stems, bark, or dried leaves - directly using their original shapes, textures, color variations, and irregular edges to compose the subject. Do not cut the plants into overly precise geometric forms, and do not wrap the plants in an illustration outline. Let the viewer both recognize the original subject and clearly see that it is cleverly assembled from real natural elements. The composition establishes order with a simple rectangular color field or paper area, but do not deliberately draw a complete frame. The subject maintains a natural inside-outside relationship with the rectangle - most of it falls within the color field, while a small portion with the most directional quality naturally extends beyond the boundary, creating an easy sense of overflow. It should feel like the plant is simply growing out of the layout, not deliberately posed to "break the frame." Keep generous negative space, a clear focal point, and asymmetry, letting the accidental nature of natural materials coexist with editorial order. Black lines appear only as minimal supporting language, never as a full outline around the subject. They may be used for eyes, mouths, minimal expressions, subtle gesture cues, local connections, short strokes, handwritten marks, or light visual rhythm in the layout. Lines should be thin, loose, and slightly hand-drawn in feel, letting the plants themselves carry the subject's form and silhouette. The color palette is drawn from the most vital and recognizable color character of the photo above, then re-translated through the natural colors of the plants themselves. Preserve the true composite color differences of leaves, petals, fruits, and dried branches - do not over-unify the dyeing. Use a light or soft composite background color that harmonizes with the original image, making the natural materials the visual center of the composition. The overall feel is fresh, restrained, alive, and not chaotic. Text remains minimal and functions as a lightweight element in the editorial design. Distill a short English title and a few tiny annotations from the photo's mood, action, relationship, or metaphor. They may sit close to the edge of the rectangular color field, float in the negative space, or align cleverly with a branch or leaf direction. Do not overpower the subject, and do not make it a conventional poster headline. The overall visual relationship is real natural materials x light black hand-drawn marks x geometric color field x natural overflow - keeping a handmade, intelligent, relaxed, poetic, and highly editorial feel. Avoid full black outlines, plants cut into regular color blocks, children's leaf-collage style, forced overflow, cartoon collage, and templated composition.