John Suler's PhotoPsychology
Fonthill Revisited
I mentioned a few images back that I stopped at the Fonthill Museum on my way home from work one evening. I had done a shoot there about two years ago, but thought it was a good idea to return to see how I might do things differently this time around – and to challenge myself to do better this time. Actually, I should go there often to do photography because it’s only five minutes away. It’s interesting how we sometimes overlook good opportunities for photography that are right in our own neighborhood.
The Fonthill is also a fascinating building to shoot. Build by Henry Mercer, a renown collector of tools and other artifacts from around the world, the museum is made entirely of poured concrete, so the walls are not entirely straight. As a result, almost any shot of it, including ones that strive for photorealism, tend to look a bit surreal nevertheless.
In this image, I was experimenting with a split tone technique I read about in one of my Photoshop books: red in the highlights, sepia in the midtones, and blue in the shadows.
Fonthill Revisited
I mentioned a few images back that I stopped at the Fonthill Museum on my way home from work one evening. I had done a shoot there about two years ago, but thought it was a good idea to return to see how I might do things differently this time around – and to challenge myself to do better this time. Actually, I should go there often to do photography because it’s only five minutes away. It’s interesting how we sometimes overlook good opportunities for photography that are right in our own neighborhood.
The Fonthill is also a fascinating building to shoot. Build by Henry Mercer, a renown collector of tools and other artifacts from around the world, the museum is made entirely of poured concrete, so the walls are not entirely straight. As a result, almost any shot of it, including ones that strive for photorealism, tend to look a bit surreal nevertheless.
In this image, I was experimenting with a split tone technique I read about in one of my Photoshop books: red in the highlights, sepia in the midtones, and blue in the shadows.