Nude

[koh303]

Doesn't the one on the left look brighter, and the one on the right darker ?

No. I am not sure what feeling has to do with this. Maybe its my screen?

[Jac@stafford.net]

Thanks, Ken. Tonal illusions are endless, but one of my favorites is Koffka's.

Turn off sound when viewing.

[benrains]

morgan by Ben Rains, on Tumblr

Century Studio 10A w/8x10 back
Wollensak Velostigmat 12"/4.5 (w/ modified soft-focus adjustment)
Ilford HP5 Plus / Adonal 1+50

[Jim Noel]

I am really enjoying this series of this young lady. Thank you for sharing them.

[StoneNYC]

8x10 Acros100 - f/22 - Rodinal - 8.5 months.

[ndg]

8x10 Acros100 - f/22 - Rodinal - 8.5 months.

Very nice shot. Really like the contrast and how you made her out into a silhouette using available light. Well done!

[Emil Schildt]

8x10 Acros100 - f/22 - Rodinal - 8.5 months.

]

that sounds like an awefull long developing time.... (for the film, that is.. )

[alanbutler57]

I am really enjoying this series of this young lady. Thank you for sharing them.

Yes, not only is she in her prime physically, but she has very soulful eyes. I'd like to see these images reprised in another decade or two, I'd bet those eyes will still be captivating.

[chrism]

8x10 Acros100 - f/22 - Rodinal - 8.5 months.

Looks like twins! Very nicely done.

Chris

[h2oman]

There's no need for an image to contain extreme tones (deep blacks and extreme whites) to pop or - better perhaps - feel rich and robust.

With skilful use of adjacent tones we can often accomplish a lot more. I believe it's called chiaroscuro.

I don't own "The Print" by Ansel, but I have this quote from it penciled into one of my Frederick Evans books: "...we cannot equate brilliance with contrast. I recall about twelve years ago measuring the reflection densities of several of Frederick Evans' platinum prints from the late nineteenth century, which conveyed an astonishing sense of brilliance. Much to my surprise, I found that the actual range of reflection densities was..., far lower than I had expected. The apparent brilliance of the prints was explained by the subtle relationship of values, rather than by actual contrast."