"Hj. Malthaner" <han### [at] nospamgmxde> wrote:
> On 1/14/21 8:50 PM, Mr wrote:
>
> > I love the details of main ship, through its openings and the kind of wrecked
> > scar in the sphere above. The only thing I'm not that fond of is the green gaz
> > cloud, it looks like it's somewhat screen space mapped or maybe too abruptly
> > delimited. The scene looks like a looot of work ! great !
>
> Likely the scene that I spent the most time on meanwhile. But a lot was
> trial and error. It's been my first 'big' povray scene.
>
> Trial and error ... I wanted to reduce the green clouds and it looked ok
> in the pre-render, but with the final settings they almost vanished. The
> result is fine, but at times I wish I had more control.
>
> --
> Some of my PovRay works:
> https://www.deviantart.com/antarasol/gallery/42758766/3D

Those kind of streak-crossed  stars are coming out great.
Green cloud is perfectly matched now!
Now I must really search hard for things to improve in the picture !  Should I
go on? If I do, the next tiny things would be :

a) Geometrical composition balance where a perfect one really is the one YOU
find to convey your idea, depending on disorder/ dynamic level.

However, I feel like the cluttering of saturnistic blue planet between ship and
strange shell like object looks somewhat too much. Next is rather food for
dreamy thought than advice:

Here is one way among so many to search for this balance : putting the main ship
slightly off center in the lower right direction as well as move the sea shell
object slightly up and left ...
With that would remain all the other smaller distant objects currently all in
the top margin of image:  I would mentally draw a line connecting ALL floating
objects and see if I like the shape it has and direction the eye takes when
sliding along it. The sense of depth must appear so those background objects
must have different resulting sizes once moved out  of the same plan and onto
this curve. Only take care not to cut the objects on the right and bottom side
of the image if you don't want too much chaos (you should imagine there is a
safety margin up to your watermark for these sides). The way this work is our
eye is used to read and enter the frame top left and exit lower right corners.
So objects or spaces cut by the frame in top left corner can act as an entry
point, but having also a lower right exit point can create a kind of
eye-highway, getin-getout effect. Instead you'd rather want the viewer's eye to
get back to the details before it leaves. so lower right is rather bouncing
place than exit point. Once the relative position of objects is established or
confirmed, you would still bring back the overlaps between them to increase
sense of depth BUT doing so you'd start looking at objects as if they were
silhouettes (maybe use the Gimp contrast curves) and focus on the shape of the
empty spaces between them: can the eye flow in that space between from island to
island with a suitable trajectory to your goal: serenity / chaos. These empty
spaces will mentally get well defined if the image is to be readable but can be
hard to control. Among some "cheats" you can decide to mix some masses together
by more overlap or focal blur, to emphasize some viewing trajectory.

b) The four similar shaped objects on the top are they intended to work together
as some kind of satellite lighting system? If so maybe having them shed some
kind of converging very slight media / halo would make that point, or any
interconnection between them, or minimally bringing them closer to each other.
Because otherwise it's not clear they have a function that would depend on each
other, yet the light blue cylinders on them are so very saturated that they too
loudly appear as duplicates if they are not meant to be some.

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