This is one of Cameron’s most atmospheric interiors, showing the inside of a boat-builder’s yard at Tweedmouth, supposedly once the workshop of the father of Reverend Robert Lee (1804–1868). The composition is carefully constructed with the use of horizontal and vertical lines framing the interior. The diagonal of the saw-horse in the foreground leads the eye through the workspace and to the river and boats beyond in a way reminiscent of Whistler’s 'The Lime Burner' of 1859. The exaggerated use of tonal contrast, with drypoint added to create visual texture to the darkest areas, also reveals Cameron’s appreciation of Rembrandt’s etchings.