Grant Harmon's Pictoralist Grand Tour

Figure 1: My filter set

For my filter set I used a blue tinted plastic water bottle, a clear empty water bottle, a tin can with both ends cut out, a white tissue, a  maroon plastic bag with a hole cut in it, a black plastic bag with a hole cut in it, and a  white grocery bag with a hole cut in it. In addition, while on the excursion, I often breathed on the lens of the camera to fog it over. I found that the breathing on the lens technique and the tin can produced the most interesting photos. The black plastic bag didn't work in the least. The blue water bottle gave some interesting photos as well. 

Figure 2: Chatelherault Hunting Lodge

This is a shot of the left side of the lodge. I breathed on the lens of the camera to create the foggy effect seen in the photo. The darkness of the overhanging clouds make the colors of the grass and building seem much more acute.

Figure 3: Chatleherault Hunting Lodge

This is a sepia shot of the right side of the lodge taken through a tin can (see Figure 1: My filter set). The circular ribs of the tin can give a direct contrast to the building, which is comprised almost completely of straight lines. 

Figure 4: Inner chambers of Chatleherault Hunting Lodge

For this black and white shot i breathed on the camera lens. Although that did give it the usual fogginess of the shot, it also gave it an compelling black and white gradient. This combined with the incredibly detailed molding in the chamber made for an great photo. 

Figure 5: Inner gardens of Chatleherault Hunting Lodge

This is a black and white shot taken through a tin can (see Figure 1: My filter set). The perfectly trimmed bushes in the garden were set up in a nearly symmetrical fashion and are encased by the circular ridges of the tin can. 

Figure 6: Water mill at New Lanark

This a sepia toned shot  taken after I breathed on the camera lens. The fact that its sepia toned and its a shot of a water mill gives it a very old fashioned feel. 

Kathryn Ringering's Pictorialist Pictures

The above picture depicts all of the unique and unusual items I used for this assignment. The items include a sexy black lace shirt, the wrapper of a Baby Bell cheese, a toilet paper roll, clear pieces of plastic bag, markers, vasoline, white and red netting, and my breath (not pictured).

Figure 1: This long-shot of Chatelherault Hunting Lodge was created by shooting the image through a toilet paper roll. The length of the roll created a soft black vignette, while the seam inside the roll draws the viewers eye towards the lodge.

Figure 2: This shot was taken in the woods behind Chatelherault Hunting Lodge. The trees in this area were already an eerie white color, and I emphasized this ominous feeling by fogging up my lens with my breath.

Figure 3: This image was taken in the woods behind Chatelherault Hunting Lodge by holding the wrapper from a Baby Bell cheese in front of the lens. The red filter brought out seductiveness of the mysteries that lie within the forest. Furthermore, the colored wrapper illuminated  the areas where light struck the leaves, while the tree on the far right acted as block to keep the viewers eye from wandering off the picture.

Figure 4: This picture of a flower outside Chatelherault was created by placing a clear piece of plastic with vasoline around the edges in front of the lens. This technique caused the majority of the picture to be very abstract and dreamy, while making the focal point (the single flower) jump out.

Figure 5: I created this image by taking a picture of the back of Chatelherault Hunting Lodge through the white fence surrounding the building. The fence acts a frame around the building, and also gives it an antique-like feel because of the chipping in the paint.

Figure 6: This picture was shot in the woods behind Chatelherault Hunting Lodge using a lace shirt in front of the lens. The lace gives the picture character, while also making it more abstract.

Figure 7: This picture was taken from the path leading down to New Lanark. I shot the picture of the buildings with the fence in front of it to make it more interesting. I then put the picture in black and white to give it the feel of being old.

Figure 8: This picture was taken of one of the water mills in New Lanark. I did not use any filters for this image. However, the water and movement of the wheel make the picture very interesting, and almost like a painting more than a photograph.

Sara Scribner's Excursion Photos - Pictoralism

 

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.

Lydia Xinwan Li's Pictorialist Photos

"Filter Supply and Techniqus"

1.The items I used for the Pictorialist photos: a black silk scarf, a lip balm, the lid of a Pringles can,and an orange chocolate wrapper.

2. In addition, I have a very good multi-functional digital camera--there are different filter sets in the camera to make the photo pictorialist;such as black and white color, brown color, and Retro style, etc.

3. The breathing technique without any materials-- breathing onto the camera lens to fog and distort the image--this makes the image misty and dreamy,and look like a fairyland-like paiting with Impressionism aesthetics

 

Figure 1: Chatelherault Hunting Lodge

The photo was taken in black and white without additional filter set.Yet, because it was raining at that time, there was some raindrops on the lens, which expains the spots on the image.

Figure 2: Chatelherault Hunting Lodge

This shot of the hunting lodge was created with the use of an orange chocolate wrapper held across the lens of my camera (see "Filter Supply and Techniques"). The results are a blurred orange effect with a soft focus, making the photograph feel like situating in a sunset scene.

In addition,because of the decorative pattern on the wrapper, there is a non-orange curve on the image.This curve emulates the sunlight, which adds more vitality to the image.

Figure 3: Chatelherault Hunting Lodge

This photo was taken in sepia option in my camera's color setting without additional filter set. This  color makes the image aged and has a sense of reminiscence from Victorian time.

Figure 4: A window of the Banqueting Room (in the Chatelherault Hunting Lodge)

This close-up of the window was created by using distorion of lip balm on a plastic lid.I smeared the lip balm onto the lid of Pringles can to create some wavy layers, and then covered the lid in front of the lens. The result is shown on the picture--it looks like a reflection of the window in water with blurry and soft focus; it is very similar to a impressionistic paiting.

Figure 5: The vase and wall in the Banqueting room, Chatelherault Hunting Lodge

This Medium-shot was created by using a black silk scarf across the lens (see the first picture "Fliter Supply"). The result makes it looks like there are shadows reflecting on the wall.The picture indicates there is a big window on the other side(it is actually the window I shot in Fig 4). Additionally, as the scarf's fine fiber is caught by the camera, the viewer can also suggest there is a gauzy curtain near the window so that the shadow is reflected by the sun on the opposite wall. Interestingly, it is actually not that bright outside seeing from Fig 4.

Figure 6-1: New Lanark Site

Figure 6-2: New Lanark Site

Figure 6-1 and 6-2 are both long-shots that were taken without filter set. I customized them as the "Retro" style through the "photo style selector" in my camera. This style incardinates New Lanark's historical value and has a sense of nostomania.

Figure 7-1: The Water Mill and buildings at New Lanark Site

Figure 7-2: At the parking lot outside of the New Lanark Town

Figure 7-1 and 7-2 are both taken by using breathing techniqe without filter set. I fogged the lens with my breath before taking the picture. As a result, they are misty, bright and fairyland-like. This breathing techniqe contributes an overall impressionistic aesthetic.

 

Tiana Jackson's Pictoralist Excursion

To create this reddish color of the lodge and the sky above it, i used my red head scarf.

To create this focus on one part of the lodge and a smokey look on the rest I used the bubble wrap. I had to find one of the bubbles to put my camera lens in to focus on what I wanted to capture clearly.

It was really sunny in this picture, but i used my black scarf over my camera and it made it seem a little darker. It also created a smokey feel to it. I was trying to get the darkness of a photo by pictoralist photographer Anne Brigman called "The Breeze", but I came kind of close.

I just thought this was a cool look. It reminds me a horror film. I used the flash to make the room look darker than what it really was and a plastic bag to get the foggy look.

For this image I used the red head scarf to get the old times look. Most pictoralist photographs were black and white, and sepia-toned. This image sort of captures that sepia-toned feature.

This image to me looks kind of like a painting rather than a photo. I used the red head scarf for this one. The scarf didnt have that clear look like in the previous ones I used, but I guess that's the beauty of it.

Audra Brawley's Pictoralist Excursion Photographs

Figure 1: Filter Supply Pack

My supply pack included a Ziploc plastic bag, a fruit plastic bag, saran wrap, a blue plastic Tesco bag, and my red, pink and yellow scarf.  Not pictured here is the fog I created with my breathe on the camera screen.  

Figure 2:  Chatelherault Hunting Lodge (from the front path)

This picture was taken with the fruit plastic bag with a small hole in it across the lens (see Fig. 1).  I created the small hole to vignette the photograph to have a clear shot of the focus of my picture, the hunting lodge.  The bag was partially see-through so it gave a great soft focus on the surroundings.  You are able to see the dark cloud moving in from the right side of the picture in contrast to the rest of the sky, which was still slightly brighter.

Figure 3:  Field in front of the Chatelherault Hunting Lodge (from the front path)

This long-shot of the field was created by the blue Tesco bag with a hole in it across the lens (see Fig. 1 Supply Pack).  The resulting image is vignetted, allowing the edges to be blurred with the blue plastic, but not completely out of focus since the bag is not totally see-through.  There is still a soft focus on the field though because the bag made the focal point closer on the blue plastic instead of off in the field.  This follows the pictoralist movement’s love for landscape pictures.  Robert Demachy was known for using gum-bichromate to add color to his photographs, which is where I got the idea for this image.

Figure 4:  Hunting Lodge and sky behind it

This image was created with saran wrap in front of the lens (see Fig. 1 Supply Pack).  It is a much softer shot than my camera usually takes.  I was capturing the contrast of the dark cloud moving in across the sky behind the lodge. This is similar to Alvin Langdon Coburn’s The Clouds in that it is enhancing the stark contrast.  Since our brain reads left to right, the way the lodge blocks out the right side of the picture keeps your focus from leaving the image.  Also, this does not encompass the entire hunting lodge, only a part of it which is similar to some of Demachy’s photographs that he was imitating Degas’ painting of not capturing the entire image.

Figure 5:  Top of the Hunting Lodge with sky contrast

This picture was taken with the red part of my scarf over the lens (see Fig. 1 Supply Pack).  This allowed the picture to be slightly out of focus, since my camera picked up on the scarf that was closer.  It also gives that kind of medium that the pictoralist photographers strived for in their pictures.  One such photographer is Robert Demachy that used gum-bichromate to create a medium to color the photograph.

Figure 6:  Down the walkway around the lodge

This black and white photograph was taken to show a silhouette of a universal person in nature.  John G. Bullock’s Marjorie in the Garden inspired this picture because of the natural aesthetic.  This is a pictoralist image because it is not as if a tourist was capturing themselves in a place, but the photographer was capturing nature as a painter would have done.  In addition, I had breathed on the lens to make it a softer photograph to look more like a painting. 

Figure 7: Back of the Hunting Lodge

This image was taken through the Ziploc plastic bag (see Fig. 1 Supply Pack).  It gives it a very soft focus to definitely look like a painter’s brush strokes instead of a sharp, in focus photograph.  It is framed between the two silhouetted trees to allow a focal point of the picture as well.  Silhouetting of photographs was very important to Gertrude Kasebier.

Figure 8: Clyde Falls at New Lanark (from above)

My breathing on the lens created a very soft focus for this image.  The light seemed to be filtered through the clouds, thus the whole picture was not crisp and bright.  The contrast from the dark trees to the brighter water draws the viewer into the photograph.  Once again, the landscape photography was significant to pictoralist photographers.

Figure 9: Clyde River at New Lanark

This picture is similar to Alvin Langdon Coburn’s Brooklyn Bridge.  The lines of the river and of the tree line allow for a one-point perspective.  This draws the eyes of the viewer into the image.  The saran wrap once again helped make the soft texture displayed in this image (see Fig. 1 Supply Pack).  Also, the ripples and froth show the movement of the water.  This movement shows the naturalist aesthetic that was captured in pictoralist images.  

Morgan Bennett - Pictorialist Excursion

Figure 1: My Pictorialist filter kit for the excursion consisted of a clear blue Q-Tip travel container (which could be used with either one or two layers of blue, a bit of fuzz from a used three-in-one laundry sheet, a disposable contact lens container, a bit of gold Twix candy bar wrapper, and my hat. In addition to these filters, I also used a breath-fog technique on the lens of the camera to create a very soft, consistent filter for images where the other filters were not appropriate.

Figure 2: A view of Chatelheraut Hunting Lodge from the gardens, taken in black and white through the laundry sheet filter for a soft focus and the appearance of a thick fog or mist about the grounds in the early morning. The variation in the density of the filter fibers creates some varying densities of the fog effect in the image, as well as added to the thickness of the clouds above the lodge.

Figure 3: Chatelheraut Hunting Lodge from the front. This image was taken in color through the Q-Tip box filter, utilizing two layers of blue (through both sides of the box instead of just one) to highlight the silhouette of the lodge against the sky.

Figure 4: Chatelheraut Hunting Lodge from the front as in Figure 3, but using the gold candy bar wrapper as a filter. The gold wrapper created an interesting effect in the image, but was very inconsistent in that effect, as evidenced by the gradual change in intensity of the original image behind the filter from top to bottom.

Figure 5: Chatelheraut Hunting Lodge, taken through the contact lens  container bulb.  With the sun directly behind the hunting lodge, the scratches in the bulb of the contact lens container really caught the individual rays of sunlight to cast about the now shadow-like form of the lodge.

Figure 6: Chatelheraut Hunting Lodge from the side. I used the vent holes in my hat as the vignette filter for this image, and am quite happy with the result. The filter intensifies the effect of the dark clouds coming in from the right to contrast the light and color of the lodge at the center of the image.

Figure 7: The river at New Lanark. This image was taken in black and white. As a filter, I breathed on the lens of the camera to create a very light, soft fog that was uniform across the image. At the bottom center of the picture are two universal figures sitting on the wall watching the river.

Figure 8: A dog wanders about New Lanark. This image was taken in black and white without the use of additional filters as an image of transience, similar to James Craig Annan's 1903 image of Stirling Castle, but without a major monument in the background.

Figure 9: A flower (maybe an orange rose?) along a stone wall in New Lanark.  Similarly to Figure 7, this image was taken using my hat as a vignette filter, focusing the viewer's eye to the brilliant color of the petals.