Figure 1. My kit for this excursion consisted of a clear plastic bag, a piece of cellophane, a white plastic bag (to be used as a vignette by tearing a hole in the bag), a clear plastic water bottle, and a yellow and red scarf. I cut off the end of the water bottle in hopes of fitting it around the lens of my camera to also create a vignette affect on the photo, but this attempt failed. Although I used each of these items in my kit, the majority of the photos depicted below (Figures 2-9) were taken after using my breath to fog the lens of the camera.
Figure 2. This photo was taken through a piece of clear plastic using the black and white setting of my camera. The plastic caused the outlines of the exterior of the Chatelherault Hunting Lodge to be blurred. A ray of sunlight, intensified by the plastic, captured in the picture, combined with the dark clouds in the sky created an atmosphere that this photo was taken at dusk.
Figure 3. The composition of this photograph parallels the paintings and works done by impressionists since the entire lodge is not pictured in the frame of the lens. I used the black and white setting of my camera as well as my breath on the lens. It was taken inside the gate on the far right of the Chatelherault Hunting Lodge.
Figure 4. Taken immediately after breathing on the camera lens, this photo renders a ‘dreamy’ or nostalgic feeling in the viewer. My breath created a fog and interrupts the picture’s sharpness. It was taken from within a room of the lodge looking out into the garden.
Figure 5. While in the West Wing of the Chatelherault Hunting Lodge, I took this photo of the moldings that covered the walls of this room using the black and white setting of my camera. It has a likeness to a photo taken by Clarence H. White (1871-1925) of some stairs in Colombia College, NY in 1910.
Figure 6. This photograph was taken of the grounds or the Grand Avenue surrounding the Chatelherault Hunting Lodge using the black and white setting of my camera and the white plastic bag as a vignette. The trees and heavy clouds lining the top and bottom of the photo create a frame which is common in pictoralism.
Figure 7. Taken above the building on the walking path into New Lanark, this photograph has quite a bit of contrast of light and dark tones. One begins to see the affect of chiaroscuro in this photograph which is highly characteristic of pictoralism. The three chimneys along the roof lead the viewer’s eye into the photograph as well as create repetition within the photograph.
Figure 8. Taken along the walkway into the New Lanark World Heritage Site through a clear bag, this photograph emulates a photograph done by George Davison (1854-1930) in 1901 called Village Under the South Downs. The image is soft and the walkway, occupied by several silhouetted ‘universal’ figures, creates a diagonal line across the picture for the viewer’s eye to follow into the picture.
Figure 9. This picture of the Falls of Clyde at New Lanark was taken through a fogged lens which again creates soft color and light within the frame. Although the stonework in the forefront seems at first to cut the photo in half, the dark outlining of the trees contrasted with the light color of the water guides the viewer’s eyes from the bottom of the frame to the top.
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