Lady Henrietta Gilmour obviously regarded photography not as an end in itself but as a means of record, and her photographs have a unique quality of unaffected honesty - the posed elements are clear but not obtrusive, and many of her photographs are the simple record which differentiates the historical document from the contrived photograph which tries too hard to aspire to art. Nevertheless, her work was not unaffected by the aesthetic movement in contemporary art photography where the aim was to use straightforward technique to render the subtleties of light in the subject. This is demonstrated in her splendid portraits where the portrayal of dress is as important as the delineation of feature.
The photographs reflect both Lady Gilmour's social status and her daily life and activities and thus cover subjects such as members of her family, workers and livestock on the estate farms, and photographs of family holidays in the north-west of Scotland. Many have subjects such as stalking, shooting, fishing, picnicking, bathing, boating, seasonal servants, gamekeepers and ghillies. Many are of trees and water. In addition, Lady Gilmour's husband was chiefly occupied with agriculture and the breeding of prize livestock. His stud of Clydesdale horses (sold in about 1912) was of national reputation and this, with his prize crossbred cattle and sheep, provided the subject of a series of sympathetic, but never sentimental, photographs.
There are also lantern slides of travels in India, Ceylon and Japan.