How Photography and the art of composition can inform the 3d Artist

Introduction

Cetin Tuker works as an architect and, having mastered 3D software to render his architectural visions, realised that, despite the accuracy of the models, there was something missing. After enrolling on a photography course he discovered the importance of aspects, such as composition and framing, and realised that the difference between producing good and great images is often an artistic issue and not purely a technical problem.

I started 3D by visualizing architectural projects when I was working for an architectural office in 1991. Those days I was in the fourth year of my university education and I was just wondering if I could model the physical form of the building as closely as possible, as it is planned by an architect.

In time, as I modelled more and more projects, I mastered a lot on the modelling software. After two years, creating an architectural model was no more a challenge for me. Actually, yes I was creating correct and highly detailed models, but it was obvious that something was still missing...

My 3D models looked like scale models made of cardboard and photographed on an infinite table. Actually they were not looking "tasty". My boss, who was a talented and experienced architect, called my models "mechanic", "unnatural" and "synthetic". Those days, they were taking photographs of the scale models to present buildings to clients.

In the following years, I thought a lot about these words "mechanic", "unnatural" and "synthetic". My question was: although I was modelling them almost perfectly, why were my models looking mechanic, unnatural and synthetic?

One day I attended a photography course for beginners. At the beginning I thought I was lucky because I was using 3D software so camera and lighting techniques were not new subjects for me. However, after a few weeks, I realised that whilst working in 3D I had never thought about composition, framing and the meaning of the image that I was creating. I mean, I was training a lot in the technical side of 3D but completely forgetting to think about the artistic side. And actually, the artistic side of the image is related with the design and it transfers feelings from the designer to the viewer. Recognising this was not a big step for the human being but it was actually a big step for me, on the way to understanding what is "natural" and "photo realistic".

Although at first glance 3D looks like a very technical and mathematical phenomenon because software, like CAD, is used to create application drawings of construction or mechanical projects, actually it is highly related with art and traditional techniques.

In some cases, 3D looks like sculpture (I do not mean modern, sculptural art of course) because a 3D artist creates 3D objects in a virtual environment using his/her material (polygons) and this can be called, "sculpting". In some cases 3D looks like architecture, because environment is everywhere - we can not delete it from existence. A 3D artist always designs an environment. In some cases 3D is related with animation (and music, because of the rhythm of the motion in animation), and of course cinematography.

Finally, in most cases, 3D looks like renaissance paintings (from a time when photography did not exist), and photography. The works of 3D artists mostly look like they have been created in a cross disciplinary art studio. To achieve the planned frame, a 3D artist creates/designs/plans the final image in his/her mind; plans the work flow and uses the computer, like a technician; models objects and figures, like a sculptor; creates textures of objects, like an illustrator; places the camera and selects the proper viewing angle and places the lights to create the atmosphere and emphasise the subject, like a photographer.

However, the meaning is always hidden in the first and last steps of this work flow. These are planning the final image, placing the camera, deciding the frame, and creating the lighting to create the atmosphere and emphasise the subject. Actually, these are the main elements of photography. In this case, I believe that we can call 3D, "photography in a virtual environment". Photography not only documents the existing condition of space, objects, or situations, but also transfers a feeling, or information, which is reminiscent of a feeling, narrated by colour, characters, lines, forms, and mostly light. In this case, a 3D artist who is also interested in photography can transfer the traditional techniques and artistic background directly to his/her 3D works, or vice versa. Now, as a 3D artist who is interested in photography, I want to discuss 3 of my photography works and 2 of my 3D works, according to these traditional techniques and bilateral transformation of traditional knowledge between photography and 3D.

Photograph 1

Keep searching until you find the best light, composition and point of view.

I took this photograph when I was on my summer vacation in 2005. The location is Bodrum Turkey, a small town which has a beautiful sea and sun. I always get up early in the mornings in Bodrum because I know I can find many subjects to photograph. At 8 o'clock in the morning I can find a silent beach and good lighting (which is very important for photography). That day I decided to take photographs of the boats on the sea, so I took my 90-300 tele-photo lens with me. I don't like carrying heavy photography bags in the mornings, so I always decide what to take with me beforehand and carry only the necessary equipment with me. After a few minutes I took the first photograph (Fig.01a).

Fig. 01a

Fig. 01a

The blue sea reflects the light like silver, and a vivid red coloured boat sits on the sea. But my first try was not that successful. The direction of the light is not perfect, so the shadows are too dark. The vivid red colour lost its strength, and the silver effect of the sea was not as strong, either. After 15 or 20 minutes, I took another picture of the same boat. This time it was from a different direction: better light, better point of view and the boat is closer. This time the shadows are not too dark and the composition is better (Fig.01b).

Fig. 01b

Fig. 01b

I did not stop searching there and I walked to another place. Suddenly, I saw a smaller boat coming from the open sea into the bay. From the place I was standing, the sea had a beautiful, silvery look. The sea was reflecting the white buildings located around the beach and it was making the sea's surface look lighter in colour. The small, red boat, the contrasting blue colour of the sea's surface and the silvery look, all created vibrant colours. The man on the boat was concentrating hard on his work and I thought this feeling could be transferred to the viewer. I took the Photograph 1c and later made a little framing on the final result to cut unnecessary things on the upper part of the photograph and to see the boat a bit larger (Fig.01 Final). I wanted to keep it very simple. I just want to say only one thing here, so I must say it directly: I have sent the "noise" to the garbage bin. Finally, I put the boat and the fisherman on the upper left part of the image - this is the 1/3 rule. That point is the first point where I will start viewing this image. Whilst working in 3D, we have to search for the best viewing angle. We have to create many cameras in the environment and take renders from them. Then we have to judge the images according to traditional composition rules. Contrast and the 1/3 rule are just two of them. Lighting is the other important thing. Whilst taking photographs in nature, we cannot change the location of the Sun or other objects. But in a 3D environment we can do this. So DO THIS. Plan what you want to see, create and place your lights, locate your camera and shoot!

Fig. 01 Final

Fig. 01 Final

Photograph 2

Cut out unnecessary things from the frame. "Less is more" is a sentence to be heard several times in art education. Although in some art movements it has changed to be "less is a bore", but this also does not mean that a composition made of a lot of objects scattered around means more than a few objects which are placed in the "right" places. A successful composition must be simple. Our aim is to create a composition which attracts viewers' eyes to the centre of attention. This can be a colourful spot on a black and white background, or the face of a man which is full of meaning. I mean that, whether we take a photo or create a 3D composition, the viewer will ask why this image has created. We have to give the answer to the viewer immediately and clearly. But of course we are searching for an aesthetic way whilst giving this answer to the viewer. In this example (Fig.02a), there is an unnecessary triangle on the upper left corner of the image. And the black silhouette located in the middle of the image, looks like a longitudinal line. So it would be better to emphasize this line whilst framing. In the final image (Fig.02b), I cut the triangle on the upper, left part and also, to emphasize the longitudinal line, I preferred the proportion close to ½, whilst framing.

Fig. 02a

Fig. 02a

Fig. 02b

Fig. 02b

Photograph 3

1/3 rule: I took this photograph in the Ortakoy (Fig.03a), district, in Istanbul. We see Bosporus bridge in the distance, which connects the European part of the city to the Asian part. As we come close, we see Ortakoy mosque and a small harbour for boats. This place is very popular for young people and tourists. Coming to the photograph, I tried to put the mosque to the upper left 1/3 of the composition (marked with a green ellipse) (Fig.03b),. This is the first point of the composition where a viewer will look. The second point will be the upper right 1/3. A very common mistake is to put the most important subject in the composition at the centre of the image. Actually, that gives a static and boring feeling and it occupies all the space around, so we can not place any other subjects around it. In this example, I also tried to give an affect of depth by creating 3 zones. These are the boats, which are the closest zone; they are not the most important subjects in this composition, but they are emphasising the zone which is very close to the camera and also make the dark blue of the sea look lighter. The second zone is occupied by the mosque, which is the main subject of this photograph; it is in the mid-part - not too close, not too far. It is also located in the most important point of the composition. The third zone is the Bosporus bridge, which is located in the distance, and looks like the background. Because of the distance, the colours of this object turned to blue (this is called an "atmospheric perspective" effect), so the colours are not that strong. Also, it is not "stealing the stage", away from the mosque. This photograph does however have some unwanted issues, which are the incomplete boats which have been marked with red arrows.

Fig. 03a

Fig. 03a

Fig. 03b

Fig. 03b

3D Works

In my 3D works, I will try to explain how I use the traditional techniques of photography and renaissance painting. I have chosen 2 of my works, " Sad Street" (3D Work 1) and " Vaulted Street" (3D Work 2), from my Street Series. These are variations of each other.

3D Works 1

The primary idea for this image came from a real photograph that I had seen a number of years ago. That photograph included an arch and a door facing it, with several pots scattered around made of terra cotta. I never completely copy a photograph in my works, I am only influenced by them (Fig.04).

Fig. 04

Fig. 04

I thought the contrast between the slightly shaded atmosphere of the area covered by the arch, and the well-lit area in front of it, including the old wooden door, would be a subject matter to catch the eye. The smooth shadows and the slight blue colour that comes from a cloudy sky would add a silent and calm atmosphere to the composition. All the other elements are carefully placed in the scene to bring out rich shadows and depth.

In my works, I always try to use the "light" as a design element. I use shade and shadows, and most of the times I locate objects to create shade and shadows, in proper places.

In this example, I use the dark area bordered by the arch as a dark frame to emphasize the warm, Mediterranean daylight. As I am living in Turkey, I have hot, Mediterranean blood and I like the warm light of this region.

Light is not an element just to make objects visible, but light and dark gives meaning to objects and it is a part of the composition. My favourite painters who use light as an element of composition are Caravaggio (Fig.05 - Caravaggio), Vermeer van Delft (Fig.06 - Vermeer van Defft), and Turkish painter Osman Hamdi Bey (Fig.07 - Osman Hamdi Bey). Every county in the world has its own lighting. Northern countries have a different light colour and composition, Africa has another light colour and composition, Great Britain can often be dull and wet, Turkey is sunny, Norway is very cold, Australia is too hot, and so on... Also, all countries have their own cultures and colour schemes. The mixture of the "colour of natural light" and the "colours of cultures" give very different light schemes in all different parts of the world. So, use light in your compositions. Always start with a lighting scenario in your mind and try to transfer your feelings by using light. Do not just light your objects, but give a meaning to them!

Fig. 05 - Caravaggio

Fig. 05 - Caravaggio

Fig. 06 - Vermeer van Defft

Fig. 06 - Vermeer van Defft

Fig. 07 - Osman Hamdi Bey

Fig. 07 - Osman Hamdi Bey

3D Works 2

As I said before, lighting is a part of design. Don't forget this, and don't leave it until the end. Be aware that light gives life and atmosphere to your design - think of it in the very beginning. Make changes on the model if necessary to give the right ambiance of shade and shadows. In this work I tried to use the light as a design element, and this is same warm, Mediterranean light. (Fig.08)

Fig. 08

Fig. 08

On the other hand, the points where you put cameras, and even field of views of the cameras, are very important too. Camera location, angle and field of view will affect the framing. There can be very, very small differences in the photographic composition, but the eye can feel comfortable in one but disturbed in another. If we are talking about camera placement, there can be just 5 centimetres between an artwork and rubbish. (Fig.08a, b, c & d)

Fig. 08a

Fig. 08a

Fig. 08b

Fig. 08b

Fig. 08c

Fig. 08c

Fig. 08d

Fig. 08d

A common mistake is distorted, vertical lines because of the camera's viewing angle. If the target of the camera is placed a bit higher or lower than the camera itself, we see vertical lines becoming distorted. If you are aware of this, you can use this as a design element and it can give good results. But most of the time, these lines create unwanted triangles near the edges of triangles. Professional architectural photographers use expensive lenses to correct this distortion. We can also use camera correction modifiers in our software packages.

In this example, again I tried to create a dark frame around a well-lit street, and gave a wall some interesting balconies. The light and dark coloured stone, which carries the ribbed vault, also emphasises this framing effect. Actually, here, I created a "picture in picture" effect. (Fig.09a)

Fig. 09a

Fig. 09a

Another common problem is to decide on the direction of the framing: vertical or horizontal? In the silhouette example, framing was horizontal because of the horizontal lines. In the Ortakoy photograph, framing was vertical because of the vertical composition. Actually, minarets of the mosque and large carriers of the bridge created vertical lines.

In this example, we see long vertical lines which catch the viewer's eyes and carries them to the inner surface of the vault, where we can see nice decoration elements. Actually that is not the focus point of the composition. That is a secondary element, but it helps the vertical framing. (Fig.09b)

Fig. 09b

Fig. 09b

I think there is also something missing there. In the focus point, the lower, left point according to the 1/3 rule, I think it needs a subject there. It can be a figure or figures. This will bring life to this silent, vaulted street. These figures can be a donkey carrying something and its owner. Maybe children running after the donkey and playing and laughing to it, and maybe a child sitting on the stairs watching them. Yes, figures always give life to a composition. (Fig.09c)

Fig. 09c

Fig. 09c

Enter content...

Fetching comments...

Post a comment