Controlling the point of view

[Airborne01!]

I can't compete with the foregoing masterpiece but this is my contribution: my 'Man Cave' has a series of modular Ikea display units composed of 'cubes' measuring 30x30x30 cms. At Christmas I was gifted many good things including an Itaeleri 'Dock with Stairs' which I thought would make a 'quick and dirty' diorama. It fits almost exactly into the cube once the books (which I'm in the process of selling) have gone, the problem is that the model and cube doesn't really lend itself to manipulation to allow forced perspective. I've called this 'Sitting on the Dock of the Bay' and it's not completed yet as it needs attention to the figures, some more minor details and the cleaning up of the base. I had to lash up a painted backdrop to give some idea of depth but essentially it needs viewing from straight ahead; C&Cs welcome!
Steve

 

[Littlemarten]

C&Cs welcome!

That is going to look great once you get it finished. Just remember, if you want it to look real, that sea gulls drop stuff on everything and everyone …

 

[Airborne01!]

Noted! Crap is incoming!
Steve

 

[BarleyBop]

Sitting on the Dock of the Bay

That's awesome! I love waterside locales, and you have so much going on: like at least three overlapping stories... hope you post next steps, and any picts you have of the runup to this stage!

 

[Airborne01!]

That's awesome! I love waterside locales, and you have so much going on: like at least three overlapping stories... hope you post next steps, and any picts you have of the runup to this stage!

OK, I'll try and sort out a couple of previous that show the genesis - not much to show though!
Steve

 

[BarleyBop]

example of forced perspective

Ha! Speaking of forced, that's some snow load!

As for the dio pics, those are both great examples of placing the viewer with the intent of creating a different effect.
To me, the first, with the deliberate cropping to the left, and hiding the background figure's face, increase the spontaneity of the shot: no one is sitting still for the camera; the viewer is pulled into the scene as it unfolds... and therein lies the magic! They are, after all, static lifeless objects, frozen in one position - but the framing of the scene would lead us to believe otherwise!

The second one, well, as you say, emphasizes the grade in the road... as a viewer, I feel I am cresting that rise and come upon the group chatting.
The standing figures have subconsciously kept to the side of the path to leave room for the bike; but they are still close enough for me to believe they are engaged in a conversation.

I'd like to think that you planned a lot of this, but also that you discovered interesting angles and shots, camera in hand, after the fact.

 

[Steve Ski]

I can't compete with the foregoing masterpiece but this is my contribution: my 'Man Cave' has a series of modular Ikea display units composed of 'cubes' measuring 30x30x30 cms. At Christmas I was gifted many good things including an Itaeleri 'Dock with Stairs' which I thought would make a 'quick and dirty' diorama.

You're selling yourself short, Steve, that's some pretty dang fine work! Figures, rigs, water work, and the doc all look great. You should be able to get some excellent story pics out of this beauty! Ruck On!

Ha! Speaking of forced, that's some snow load!

As for the dio pics, those are both great examples of placing the viewer with the intent of creating a different effect.
To me, the first, with the deliberate cropping to the left, and hiding the background figure's face, increase the spontaneity of the shot: no one is sitting still for the camera; the viewer is pulled into the scene as it unfolds... and therein lies the magic! They are, after all, static lifeless objects, frozen in one position - but the framing of the scene would lead us to believe otherwise!

The second one, well, as you say, emphasizes the grade in the road... as a viewer, I feel I am cresting that rise and come upon the group chatting.
The standing figures have subconsciously kept to the side of the path to leave room for the bike; but they are still close enough for me to believe they are engaged in a conversation.

I'd like to think that you planned a lot of this, but also that you discovered interesting angles and shots, camera in hand, after the fact.

Yep, there is cropping, but not much, Amigo. Getting the camera to get in close like that is a matter of where you let it focus, that's all. No need for heavy cropping or zooming the shot in Photoshop.

As for planning a lot of this, more like, all of it. This starts way back at the layout, Barley. I try to keep it as simple as possible and get a story line in there when I plan how the figures interact, is it realistic enough, and then any vehicles, etc. I'm no super dio builder, there are many more talented than I when it comes to painting a story, but that's my goal, to direct the action for the viewer. When I shoot the scenes I plan ahead, but I also like to have the scenario simple enough that if you saw this in person, you'd catch it quickly. When I plan a scenario, I like to get my face right down to figure eye level, so I can see what the figure should see, there in, the camera sees. I recon that is a simple as I can make it, if that helps.

 

[Airborne01!]

Thanks for your generous comments Steve, the next discipline to conquer is the photography!
Steve