In photography, composition refers to the way elements in a scene are arranged in relation to each other. This may include the placement of objects within a frame, the use of lines, shapes and colours, and the overall balance of the image. I believe this is the case in 3D modelling too, composition can be used in a similar way to create a balanced and aesthetically pleasing scene and maybe even to greater lengths.
What I am going to create is a 3D scene using high poly textured and rendered assets and explore how to use classic photographic composition techniques to improve the overall impact the scene has. By doing so I hope to discover how universal these methods are and if they are effective in improving the process 3D modelling practices as a whole.
“There is one thing the photograph must contain, the humanity of the moment” (Robert Frank, 1966, p.66)
When looking at these two different fields of photography and 3D modelling I believe this quote makes an important distinction, that is that photography at its core is a about capturing humanity and by extension reality, its used to record and preserve the world around us, such as portraits of individuals, events or just something meaningful. Photography allows people to capture these moments and share them with others, allowing us to better understand and appreciate the world around us. But this is more difficult when it comes to 3D design as you have to create these moments yourself, however i do believe this quote also gives an idea of how to improve the results. Better explained by another common expression in photography “Taking an image, freezing a moment, reveals how rich reality truly is.” The important part here is the phrase ‘freezing a moment’, this implies that the photo is just a single moment in time. I believe thinking about the 3D composition as just a single point taken in time is a useful way of improving the scene by giving things an implication of motion or life, this way they will feel more realistic.
Robert Frank (1966) in Nathan Lyons, Photographers on photography: a critical anthology, p. 66