Retro Pixel Industrial Travel Archive Poster

Please create each uploaded travel photo into an independent 3:4 vertical 'Retro Pixel Industrial Travel Archive' editorial poster. Output each photo separately, no multi-image collage. This style is not about pixelating the whole photo directly, nor adding a generic computer frame. First extract 3-7 real objects that define the scene identity from the original photo, then convert them into pixel sprites, local previews, data indexes, and structural slices, and reassemble them inside a fully functioning old computer software. Top ~30%-38% of the canvas: keep the original photo clearly recognizable. Accurately preserve subject identity, architectural structure, quantity, viewing angle, spatial relationships, real materials, natural lighting, and location colors. Only light editorial color grading and film grain treatment; no illustration, reconstruction, or alteration of the original photo. Below the photo, keep a ~7%-10% breathing band in charcoal black or dark olive, with a readable pixel title of 1-4 English words derived from the photo's real structure or theme, e.g.: HEAVEN AXIS ROOF SYSTEM LAKE PAVILION CANAL OBJECTS Lower ~50%-60% of the canvas: build a complete late-1980s to early-1990s graphic workstation software. The main background must be visibly deep forest green, ink green, or ochre olive, not pure black. The computer area must simultaneously have: 1. One complete main application window occupying the lower main area; 2. Old ivory or tobacco gold narrow borders; 3. A system menu bar spanning the entire top of the application; 4. Menu text exactly: FILE EDIT VIEW DATA TOOLS WINDOW HELP 5. At least one selected menu; 6. An expanded dropdown menu directly connected to the selected menu; 7. Dropdown menu options may include: IMPORT… EXPORT… LAYERS… FILTER… COLOR MAP STATISTICS… PRINT… 8. At least three overlapping functional sub-windows; 9. Each sub-window has a title bar, close button, and clear function; 10. At least one window with clear scrollbars, arrow buttons, and sliders; 11. At least one object index, color map, bar chart, or status window. First analyze the photo and list the objects that can be split. For example: Traditional architecture photo: main roof, secondary roof, dougong color band, gable wall, steps, railings, red wall. Garden photo: pavilion, rockery, lakeshore, boat, branches, roof fragments. Water town photo: stone bridge, waterside wooden house, balcony, tiled roof, water surface, reflection, shoreline. People or traffic photo: people, vehicles, road, building facade, landmarks, and direction of movement. Convert these real elements into low-resolution pixel sprites or structural modules. Preserve the object's silhouette, direction, quantity, and signature color, but remove micro-textures. In the central work area, resize and reposition objects: the main object can be enlarged as a visual anchor, other objects arranged around it like movable layers. Do not follow the original photo's full framing. Change the scale relationship between at least two objects, and show a local preview, side silhouette, structural slice, color index, or quantity relationship of an object in an independent window. Interface text must come from real objects in the photo, e.g.: OBJECT 01 OBJECTS 05 LAYER ACTIVE VIEW ACTIVE STATUS OK ROOF VIEW WATER SAMPLE BRIDGE OBJECT COLOR INDEX SHORE PROFILE Do not invent precise dimensions, coordinates, years, architectural data, or technical parameters. Compress colors from the original photo into 5-8 pixel colors. Lower area uses deep forest green, ink green, or ochre olive as the main work area color, paired with old ivory, tobacco gold, dark orange, and charcoal black. Retain one or two signature colors from the photo, e.g., vermilion, glass yellow, green, lake blue, or wood brown. Use low-resolution bitmap language: low-resolution pixel sprites, 1–3 pixel outlines, pixel dithering, stepped diagonal lines, bitmap typography, coarse pixel buttons, narrow scrollbars, overlapping windows, limited color palette. The entire computer screen uniformly shows real CRT texture: continuous horizontal scanlines, subtle phosphor glow, slight barrel distortion, curved glass screen, darkened corners, restrained glass reflection, minor color separation. Scanlines and screen curvature must simultaneously affect the menu bar, pixel canvas, sub-windows, and text, not as a post-added filter over a normal digital interface. The overall result should look like an old computer dissecting, inspecting, and reorganizing travel objects from the photo. The interface is just an organizational tool; the pixel objects extracted from the photo are the visual subject. Forcibly avoid: full-scene pixel filter, same-crop pixel redraw, generic computer mockup, interface-only design, objects unrelated to the source photo, missing top menu bar, tiny decorative menu bar, windows without title bars, disconnected dropdown menu, modern dashboard grid, browser UI, mobile UI, terminal-only screen, futuristic HUD, cyberpunk neon, purple-blue sci-fi palette, glossy 3D, video-game characters, all-black lower screen, fake command-line code, invented landmarks, copied operating-system brand, author name, signature, Logo, watermark, unreadable microtext.