Edward switched to the glossier, sharper, and higher -
contrast gelatin silver papers that would become characteristic of modernist photography after seeing Brett's work with the process.
Her evocative, high -
contrast gelatin silver prints draw viewers into these constructed worlds and invite them to question just what it is they are seeing.
Not exact matches
Adam Fuss» untitled 1990
gelatin silver print portrait, on the other hand, has so little
contrast that seeing the boy's silhouette in it seems to depend on believing that it is there.
The paper, the printing quality and the
contrast in the images were adjusted to look like
gelatin silver prints from the era.
In her
gelatin silver prints, familiar objects suddenly become insidious, the high -
contrast black - and - white exposures revealing breaks and fissures in what we might otherwise regard as impervious surfaces.