Untitled (Eugenie Stoll) c. 1940

Editor: This negative image of Eugenie Stoll by C. Bennette Moore at the Harvard Art Museums is compelling—almost ghostly. Curator: I see what you mean. The reversed tones definitely give it an otherworldly feel, like a dream or a half-formed memory. I wonder about the sitter and the context of its creation. The photographic frame is clear. Editor: It speaks to portraiture conventions in many ways—the pose, the clothing... But then the inversion of light challenges all that, unsettling the expected dynamic. It makes you consider how photography shapes our perceptions. I wonder if this was an experiment? Curator: Indeed, it offers a glimpse into the technical and artistic possibilities of the time. It’s this push-pull between the familiar and the strange that makes it so captivating. Editor: Absolutely. It's a great example of how photographic processes can transform representation, prompting conversations about visibility, absence, and the very nature of image-making. Curator: It makes me wonder if Eugenie ever saw this image herself. What would she think?