Photography as a building aid

It’s natural to wait until your diorama is completed before taking pictures of it. After all, the finished product is what people want to see. But there’s a case to be made for getting out your camera before everything is finished. 

I’m in the final stages of completing Mirage, a diorama featuring WWII Germany’s versatile Junkers JU-88 medium bomber. I decided to take some photos before mounting the acrylic window which will cover the front of the diorama. Without a polarizing filter, reflections from acrylic and glass can be an issue when photographing your work. 

When I reviewed the photos I’d taken, a number of flaws came to light which I hadn’t noticed before. I wondered how I could have missed them. 

The camera, I realized, was like a second set of eyes. It enabled me to see the diorama differently, revealing imperfections which went unnoticed before. I can think of two reasons for the camera’s unique ability to do this. 

The first reason is that our eyes are permanently set in wide angle mode. We can’t ‘zoom in’ on subjects. A camera’s field of vision, on the other hand, can be varied. Close-up photographs allow us to more easily study separate sections of a diorama, one at a time. When all our attention is focused on a very small part of the diorama, it’s harder for flaws to escape scrutiny. 

The second reason is that looking at something in three dimensions presents the eye with more information than when looking at the same subject in two dimensions. When looking for flaws, this can be a liability, because some of the information is superfluous. The photograph distills what you see into a simplified two-dimensional form. This makes it easier to pick up mistakes in your work. In other words, flaws which were ‘buried’ in a three-dimensional view are laid bare in two dimensions. 

Before the days of digital photography, taking pictures was a much longer process. You had to buy a roll of film, take your pictures, and get everything developed and printed at the photo shop. The whole process could take several days, with the result that photography tended to be reserved for special occasions. But with the instant turnaround conferred by digital cameras, the bounds of conservativism in picture taking have been forever broken. I’d venture that photography has actually become too accessible, as evidenced by that modern day cultural aberration known as the selfie. 

To paraphrase Blade Runner’s Rick Deckard, technology can be a benefit or a hazard. That goes for cameras as well as replicants. So put your camera to good use, and when you’re nearing the end of your project, take pictures of your work in progress. Don’t skimp on coverage. Get several angles and plenty of close-ups. You may be surprised at what you discover, and once you fix the things you missed, you’ll have a better diorama. 

If you like to build dioramas and want to learn more about how to optimize the visual impact of your work, you might like my book, Diorama Design. It’s available in both ebook and print formats at Amazon.

-Ivar

Sea Water from Tomytec

Diorama modellers who like to build scenes featuring ships and boats know how important realistic looking water is to the overall effect. Depending on the location being portrayed, water  can look transparent, translucent, or opaque, and can take on a wide variety of colours, including blue, green, grey, teal and turquoise, to name a few. Its surface can range anywhere from glassy smooth to wave tossed. 

If you’re working in larger scales like 1:35, water is much more visually appealing if it’s translucent rather than opaque. Even a muddy river has a top layer which is translucent. Getting this effect is usually very labour intensive. My Drug Runners diorama required five layers of two-part resin infused with blue paint to get the effect I was after. Ripples were added to the top layer with a spatula, before the resin had completely set. Creating the wake for the speedboat also took some experimentation before I was satisfied with the results. 

Generally speaking, smaller scales will have more opaque looking water. If your taste runs to naval vessels in scales such as 1:144 or 1:200, you’re in luck, because Tomytec has a solution. Simply referred to as Sea Water, Tomytech is offering a set of two A4 size sheets of PET depicting an ocean surface in 1:150 scale. The sheets are thin enough to be cut with scissors, so you can easily customize them to fit a base of any shape. 

Tomytec doesn’t specify if the sheets are translucent or opaque. Translucency would provide more control over the final appearance of the ocean surface you’re modelling. You can always make a translucent surface more opaque, but not the reverse. 

With these sheets, all you have to do is affix your waterline hull model to the sheet, add some wake, and you’re all set. Infinitely easier than creating your own water using resin mixes. 

Tomytec’s Sea Water sheets will be available in June. You can pre-order them at www.1999.co.jp

If you like to build dioramas and want to learn more about how to optimize the visual impact of your work, you might like my book, Diorama Design. It’s available in both ebook and print formats at Amazon.

-Ivar