4 POSTER CANOPY BED

Romantic Vignettes

An Anthology of Three Premiere Novellas by Marcia Lynn McClure (Novella 1) THE UNOBTAINABLE ONE THE CHILD WAS STRAWBERRY-SWEET AND LOVING...BUT THE MAN WAS FORBIDDEN FRUIT. Annette Jordan had accepted the unavoidable reality that she must toil as a governess to provide for herself. Annette Jordan had accepted the unavoidable reality that she must toil as a governess to provide for herself. Thankfully, her charge was a joy-a vision of youthful beauty, owning a spirit of delight. But it was Annette's employer, Lord Gareth Barrett, who proved to be the trial-for she soon found herself living in the all-too-cliche governess' dream of having fallen desperately in love with the man who provided her wages. The child loved her-but could she endure watching hopelessly as the beautiful woman from a neighboring property won Lord Barrett's affections? (Novella 2) THE GENERAL'S AMBITIONS SHE HAD BEEN SELECTED TO MARRY AND BEAR THE PROGENY OF THE SON... Seemingly over night, Renee Millings found herself orphaned and married to the indescribably handsome, but ever frowning, Roque Montan. His father, The General, was obsessively determined that his lineage would continue posthaste-with or without consent of his son's new bride. But when Roque reveals the existence of a sworn oath that will obstruct his father's ambition, will the villainous General conspire to insure the future of his coveted progeny to be borne by Renee himself? Will Renee find the only means of escape from the odious General to be that of his late wife-death? Or will the son find no tolerance for his father's diabolic plotting concerning the woman Roque legally terms his wife? (Novella 3) INDEBTED DELIVERANCE SNOWBOUND AND ISOLATED...SHE HAD NO ALTERNATIVE BUT TO ENDURE THE WINTER IN THE COMPANIONSHIP OF THE BRUTAL RACE TREVELIAN... Chalyce LaSalle had been grateful to the handsome recluse, Race Trevelian, when he had delivered her from certain tragedy one frigid winter day. He was addictively attractive, powerful and intriguing-and there was something else about him-an air of secreted internal torture. Yet, as the brutal character of her emancipator began to manifest, Chalyce commenced in wondering whether the fate she now faced would be any less insufferable than the one from which he had delivered her. Still, his very essence beckoned hers. She was drawn to him and her soul whispered that his mind needed deliverance as desperately as she had needed rescue that cold, winter's noon.

Vignetting is a reduction of an image's clarity at the periphery compared to the center of the image. It may be gradual or abrupt. Usually photographers think of it as a darkening that starts at the corners, and, in some cases, spreads along the edges of the photo to create a rounded off image. Other forms of vignetting include photos with a periphery that fades to white, loses color saturation, or generally looks “washed-out.” Blur in the corners or along the edges of a photo might also be considered vignetting.

A variety of factors contribute to dark vignetting – for example, optical limitations in the lens (especially in toy cameras with inexpensive lens) and lens hoods, filters and other lens attachments that reduce the angle of view. Dark vignetting is most obvious at wide-open aperture, especially in wide-angle lenses with filters. It might be hidden in images with complex details, while being more obvious in photos that contain areas with few features, like clear skies or blank walls.

Because dark vignetting usually results from the “problem” of light being blocked, some photographers, especially those who are invested in a pure or totally realistic image, will consider it undesirable. They might try to crop it out, or use an image editing program to correct it.

For artistic purposes, vignetting might be desirable and even added to a photo that doesn’t have it. There are a variety of techniques for achieving the effect: by deliberately shooting with a camera, lens, or filter that will create vignetting, by burning the outer edges of the image, or using masks in an image editing program to selectively alter the periphery of the photo. Some programs, like Photoshop, have a feature specifically designed to create dark or light vignetting. To create blur vignetting, some photographers suggest smearing Vaseline along the edges of a UV filter. That might result in some very interesting effects, although I imagine the clean-up job could be tedious.

Vignetting is often used in portrait photos, usually by creating an oval shape around the subject. Along with film grain and black/white or sepia treatments, dark vignetting is also a good technique for creating the look of an “old photograph” because the relatively low quality lens of old cameras often resulted in vignetting.

It’s helpful to think about vignetting in terms of the psychology of perception. If the vignetting is symmetrical, it focuses the eye towards the middle of the photo and creates a feeling of centeredness. Sometimes the effect can be quite subtle and not consciously noticed by the viewer. It mimics the cognitive process of concentrating on something while toning down attention to any distractions in the periphery of awareness. Imagine yourself, for example, reading a book or watching TV. Your attention zooms in on the words or pictures, while you just barely notice things around the book or TV.

In some respects vignetting mimics the way the eye works. The receptor cells known as “cones” are sensitive to color and concentrated in the center of the retina, while the “rods,” which detect light but not color, are found on the periphery of the retina.

Dark vignetting that is obvious or blatant creates the sensation of "looking in" or “looking out,” as if through a hole, window, or tunnel of some kind. We experience the sensation of a space out there and some barrier or plane through which we are looking at it. We are here in this space, the subject over there in that space, and there’s distance between us. With some subjects the feeling of voyeurism and even peeping might be quite strong.

When people are in an altered state of consciousness, or when losing consciousness, as in passing out, they may experience darkness closing in from the periphery of their vision. Under conditions of stress, some people have “tunnel vision.” To recreate these sensations of a mind that is intoxicated, fading, or traumatized, a photographer might use vignetting.

When vignetting is not symmetrical around the periphery of the image, the off-balance feeling that results can enhance this sensation of a mind gone awry. Asymmetrical vignetting might also serve the more mundane function of focusing the viewer’s eye on an element of the image that is not at the center, or of providing balance to other elements of the image.

White vignetting similarly helps focus the eye, but its other psychological effects can be quite different than dark vignetting. The image will feel more light, airy, and ethereal, as if in a reverie or dream. For this reason, white vignetting will probably work better in high key photographs. It also tends to lift the image up towards the viewer rather than make the subject appear to be in a distant space. For subjects that are uplifting, happy, and joyful, as in wedding photography, white vignetting will usually be more appropriate that dark vignetting, which tends to create a more introspective, moody, or even sinister fe

I love creating vignettes everywhere throughout my home and change things up all the time. This is one on the corner of my bedroom vanity. :-)

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