You see this most often when a tree trunk appears light against the environment near the ground, then becoming darker than the upper sky. 
Ted Kautzky, a watercolor and pencil instructor of the mid-20th century, used the tree trunk and the balustrade bannister in this black and white drawing. 
I exaggerated the effect of Counterchange when I painted this view of Segovia. The clouds passed over the stage, throwing sections of the city in and out of the shadows. I tried to capture the moment when the top of the tower fell in shadow, while the central part remained light. I then adjusted the shades lighter or darker sky to bring out the contrast. 
This is a detail of a painting by Bouguereau. The foliage switch masses of light against darkness left in dark against the light right. On the demarcation line in the center where the transition occurs, the definition of the leaves is deliciously amorphous and painterly.
Counterchange can take place along one edge, as it does along the roof line. (Incidentally, I also thought Windmill Principe, mentioned on a previous post, I scored the other two "paddles" .. Besides the sections in which they appear)
Counterchange doesn 't always be a complete reversal of tones. Arthur Streeton gets a striking effect on the painting through a dark silhouette against light atop a light-against light relation to the right of the image. In a strange way, the result is more satisfying than if he had managed a dark cloud behind the illuminated section of the building Tomorrow :. Art Committee by
