Nocturnal Geometry, photo by Harold Davis. View this image larger.

The model wore one of those old-fashioned mesh veils, pearls, and not much else. In Photoshop, I applied the Topaz Vibrance adjustment to the upper portion of the image, using a duplicate layer, a layer mask and the Gradient Tool.

I scanned a crumpled piece of paper stained with coffee grounds, loaded it into Photoshop, and sized the scan to match the photo. I used a LAB equalization to rev up the contrast and texture in the scan.

Next, I used a layer mask to selectively apply the scanned paper as a texture in Overlay Blending mode to the portions of the model’s face covered by the veil. I made sure to leave her eyes alone, so that they seem to stare through the shapes made by the texture—as if her eyes would stare right through you in the night. A nocturnal geometry frightening in its raw desolation.