Bottle Study.

This began as an exploration of bottle form and what a very small number of tones can hold. White on white is the hardest ground to work on, because a pale bottle on a pale surface has almost nothing to separate it. The answer was less light rather than more. I used one hard source, low and to the side, so the glass takes a bright edge and drops a single crisp diagonal across the surface. That shadow does the composition. It splits the frame dark to light and gives the bottle somewhere to sit. The surface is a white leather grain, which holds enough texture to read under a raking source without becoming a pattern in its own right. The glycerine was worked into sculptural blobs beside the bottle rather than scattered as spray, so the droplets behave as objects with weight instead of decoration. A soft fold of white paper cradles the base and bounces just enough back into the shadow side.