A spectacular hanger! The wide field of view allows us to see more of it,
and some of the best lighting and modeling is along the edges. The textures
of the steel beams and the brick walls are perfect. The metal roller doors
look great, though I'd like to see more of the lamps (the one on the left
foreground looks great, but the others in the distance are hidden).

I feel a little guilty for complaining about the tilted viewpoint, since I
used the same viewpoint for Innocent Shadow. But, personally, I would've
preferred a straight view.

Mainly I had a problem with the size of the chain links; they seem too big.
The plane itself is well modelled and the dirty textures are great, but I
think it would look more realistic with more color variation, more "parts,"
especially for the propeller and its housing, and to connect the cylinders
to the body and wing.

The well-lit ceiling on the left, with the rivets and streaks, is great, but
in the distance the ceiling looks a little blotchy (but real ceilings could
look just like that). The floor is a little blurry in the foreground. Maybe
some sharp scratches or dirt, and more seams like those on the right, to
break up the smoothness?

This hanger would be a great environment for a lot of the Old Technology
entry objects. An old phone on the wall, a car parked in the distance, the
steam engine in the corner!

I'm amazed at how fast Carrara rendered this scene, very impressive! I
really haven't heard much about this software, but your image has convinced
me to check it out.

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Renderdog <slo### [at] hiwaaynet> wrote in message
news:web.3e870ed521db3fda2f7cbfd80@news.povray.org...

> spectacular hanger! The wide field of view allows us to see more of it,
>and some of the best lighting and modeling is along the edges.
Yes, this a great image!

The textures
>of the steel beams and the brick walls are perfect.
Excellent texturing!


The metal roller doors
>look great, though I'd like to see more of the lamps (the one on the left
>foreground looks great, but the others in the distance are hidden).

> Mainly I had a problem with the size of the chain links; they seem too
big.

That had bothered me too, I thought it was a problem with scale, but finally
decided it was more about camera angle & field of view.  Still not sure
about scale though, when I compare the apparent lamp size with the chain
links.

Things like scale and camera settings though are a matter of artist
perception, so I tend to not think of them as interpretations rather than
defects.

RG

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This picture dramatizes a particular technology at a specific point in 
history.  The technology depicted, aviation, is represented by the Fairy 
Swordfish, a warplane that dates from a period in time, (first flown in 
1934 ), just before air power was to become a major force shaping 
warfare.  Poignantly, the obsoleted Swordfish was employed throughout 
WWll,  and was responsible for the destruction of more shipping than any 
other aircraft. Documentary in concept, the picture gives us a glimpse 
of this technology set in time.  But the pictorial elements are used to 
dramatic effect as much as accurate record.

I am struck, simultaneously, by the unusual camera angle and lens, the 
accurate texturing, the narrow range of hue, and the rich contrast.  The 
effect is to emphasize the looming presence of the aircraft as it 
emerges from the gloom and structures of its surroundings.  The blunt 
utility of the hanger structure is as celebrated as is the 
battle-scarred patina and dated design of the warplane.

Compositionally, the Swordfish is framed in a series of encrusted 
foreground beams and chains.  These introduce a series of diagonals, 
that dominate the composition and draw the eye in.  The wide-angled lens 
distorts these elements which anticipate the effect on the airfoil.

The texturing is subtle and enveloping. It is used to differentiate just 
a few main species of material: encrusted iron, airfoil skin, brick, and 
pavement.

This slice in time is made intimate by electric lights, a technology we 
share with this era.  A light placed against a beam in the foreground 
rakes its heavy texture while leading the eye to the highlighted prop 
and wing.  Other lights placed throughout the hangar create a 
flickering, irregular effect as they rake the brick texture or pick out 
the ironwork. This irregularity, combined with the relentless diagonals, 
reinforces the visual drama of the scene.

A visit to the artist's website gleaned that this picture advances an 
interest, seen in several works, in the interior spaces of technology.
By picturing his subject inside a maintenance hangar, he implies its 
internal structure, and suggests its transience in time.

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Overall, this was the highest rated image in my list.  The textures are
superb.  The brick wall looks great.  The airplanes look great.  It has
somewhat of a painted look to the image overall, but somehow that just seems
to add to the mood of the scene.  I feel as if I could almost touch the
objects and have to wipe off the dust/rust/etc. from my fingers.

I didn't notice the large chains, assuming that perhaps chains really are
that big.  The only thing that bothered me was the wide angle "lens".  I had
used a wide angle for my Radio Graves entry, but then switched to a smaller
angle of around 55 degrees, simply because things end up getting so skewed
on the edges.  Maybe that's not necessarily a bad thing, but it makes the
image look strange.

The camera-tilt works well, imo.  Most of the chains are falling straight
down in the image, which puts the focus more on the plane.  A straight view
may have also made the hangar look more "bowed" on the sides, due to the
wide angle shot.

Great job!

--
Slash
"Renderdog" <slo### [at] hiwaaynet> wrote in message
news:web.3e870ed521db3fda2f7cbfd80@news.povray.org...
> A spectacular hanger! The wide field of view allows us to see more of it,
> and some of the best lighting and modeling is along the edges. The
textures
> of the steel beams and the brick walls are perfect. The metal roller doors
> look great, though I'd like to see more of the lamps (the one on the left
> foreground looks great, but the others in the distance are hidden).
>
> I feel a little guilty for complaining about the tilted viewpoint, since I
> used the same viewpoint for Innocent Shadow. But, personally, I would've
> preferred a straight view.
>
> Mainly I had a problem with the size of the chain links; they seem too
big.
> The plane itself is well modelled and the dirty textures are great, but I
> think it would look more realistic with more color variation, more
"parts,"
> especially for the propeller and its housing, and to connect the cylinders
> to the body and wing.
>
> The well-lit ceiling on the left, with the rivets and streaks, is great,
but
> in the distance the ceiling looks a little blotchy (but real ceilings
could
> look just like that). The floor is a little blurry in the foreground.
Maybe
> some sharp scratches or dirt, and more seams like those on the right, to
> break up the smoothness?
>
> This hanger would be a great environment for a lot of the Old Technology
> entry objects. An old phone on the wall, a car parked in the distance, the
> steam engine in the corner!
>
> I'm amazed at how fast Carrara rendered this scene, very impressive! I
> really haven't heard much about this software, but your image has
convinced
> me to check it out.
>
>

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This was one of the few pictures that made me go "WOW!" when I saw
it. Very nice modelling and texturing of the plane, but as someone
commented, where's the engine? ;)
Could've used a little higher resolution textures at close range.
I like the wide angle shot, gives a very good depth feeling.

-Peter

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web.3e870ed521db3fda2f7cbfd80@news.povray.org...

First of all, this was one of my two favorite image (the other one was
"Modern Times").

The concept and setup of the scene are really great.
It has a tunnel effect that makes your view travel (fly is more correct)
thru' the hanger. That effect gets increased by the lightning, wich is
superb.

Textures are very well done, and I know it's difficult to make all that dirt
and rust.

Modelling is also great, specially the hanger and the planes. But I think
there is a mistake in the chains. The links are aligned wrong: the bottom
part of each one should be touching the upper part of the next, and in
the image, the links seems to float (more visible in the big chain to the
right but it's a problem that affects all chains).

Apart from that, a great image.
Bye

Txemi Jendrix
http://www.txemijendrix.com

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Slashdolt wrote:
>The camera-tilt works well, imo.  Most of the chains are falling straight
>down in the image, which puts the focus more on the plane.  A straight view
>may have also made the hangar look more "bowed" on the sides, due to the
>wide angle shot.

Perspectives with a wide field of view can be altered to reduce bowing in an
image. Doctor John posted an Architectural Field Camera macro a few months
ago which does a great job of producing a two-point perspective (objects
get smaller in the distance, and right-left, but not vertically). This
keeps the tops of buildings from bowing in and still looks very natural.
Since images are framed in a rectangle our eye can find the perfectly
natural bowing to be "wrong."

For my image of Venice I take this one step further, using a one-point
perspective, where objects only get smaller in the distance. Of course,
things can get a little weird as objects away from the center are larger
than they would naturally appear.

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Neat!  I searched the ng's for "Architectural Field Camera" and I found it.
It's still in p.t.s-f, posted on 12/27/02, "a true architectural field
camera".  I would have liked to have had that for Radio Graves...  It kind
of sucks when you learn things after the fact.

But, I may use it for my next scene, now that the fatigue from the IRTC pace
is wearing off...  ;-)  I just need to think of an idea that really appeals
to me!

--
Slash

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