@trogluddite said:
Though I'm new to SU, I have done a lot of photo comp'ing in the past.
The key thing I learned is to analyse your source photo for perspective, lighting, and scale.
In this respect, I would say that gistman's interpretation is the most convincing.
There is a very definite horizon line in the photo where the sky and sea meet - the horizontals of the building should all converge to points along this line (extended beyond the picture edge if needs be). In a picture containing other buildings, you can find an imaginary 'horizon' by following the horizontal edges of a few different faces to find the line on which they would meet.
The fact that the horizon is almost perfectly central in the photo, is usually a good sign that the camera is perfectly level - so your verticals ought to be pretty much straight up and down with no convergence.
The detail in the grass in the foreground indicates that the camera is not particularly high up (unless it is very tall grass!) - probably about normal eye-height, so we should be able to see a fair amount of the underside of the roof (Assuming it is big enough to walk inside).
For the lighting, the large tree is a very good guide. A significant amount of the right hand side is in shadow, so the light source is forward of the camera and to the left - If you imagine about 10 or 11 on a clock face, you shouldn't be too far out.
Most of the top of the tree is lit, and the tree's shadow is pretty close underneath - so the sun is pretty high up too, maybe 60deg or more.
Some very valuable tips there Steve!!!!
It appears you guys are exporting nature SU with a photomatch background?
Just on Photomatch, I hope in the future Photomatch allows the ability to fix the horizon line horizontal rather than try and tweak vanishing lines to get it right; afterall; not to many building are modeled / build on an incline....
