Sir Simon Marsden, an English infrared photographer, travelled extensively across the UK and internationally in search of "ruins, haunted houses, statuary and spectral landscapes" (Blegvad, 2012). Specialising in infrared film photography and analogue prints, Marsden's work was described by The Telegraph as having an "ethereal, haunting atmosphere". While this attracted an audience interested in the supernatural, his images were also "much admired for their technical excellence" (The Telegraph, 2012).
During his travels, Marsden visited Cornwall in the late 1970s and early 1980s. The first set of photographs above, Figures 1 to 6, were all taken there. I have grouped these specifically as potential locations for my own photography, offering a chance to bring my own perspective to these sites. Roche Rock (Figure 3) is particularly intriguing, and I am keen to learn more about the Neolithic monuments scattered around Cornwall (Figures 4 to 6). While the accessibility of these sites may be limited for me as a disabled person, I will explore the available options.
Marsden also visited Marazion in Cornwall. I have previously photographed St Michael's Mount for an infrared project, resulting in images that differ significantly from Marsden's. While his photo (Figure 7, above) was taken on black and white infrared film, I used a converted digital camera, allowing me to capture some colour (Figure 8, above). My image of the Mount is silhouetted against a serene and peaceful sunset, whereas Marsden's creates a spectral atmosphere by capturing the castle's detail and using selective dodging and burning techniques. Interestingly, Marsden once said "I print all my own pictures in the darkroom, and this is where most of the creative work is done - by the soul of a man, not a machine. I have seen the results of infrared in Photoshop, and they are definitely inferior to the real thing" (Williams, 2015). I disagree with Marsden on this, even though I generally prefer analogue photography over digital, because I feel Photoshop allows you the freedom to be creative in ways beyond the capabilities of darkroom printing. I can understand the idea that simply automating your edits may be soulless and limiting, but carefully crafting an image, even on a computer, takes a lot of patience, skill, and heart. I may be biased, but I don't feel that my image is inferior, just different.
Outside of Cornwall, Figures 9 to 14 (below) showcase images where the textures of foliage and stone reflect infrared light in captivating ways. In Figure 14, the white grass and ivy envelop a magnificent building against a black sky. Chlorophyll reflects infrared light strongly, resulting in a bright white appearance that is highly sought-after in infrared photography (NASA, 2023). However, in Figure 10, Marsden chose to photograph a pathway lined with bare winter trees, creating a stark, cold image that subverts the expectations of infrared photography enthusiasts and invites viewers down a foreboding path.
Marsden also created a foreboding mood by using selective dodging and burning techniques while exposing his prints, brightening and darkening specific areas to direct the viewer's focus and construct a narrative. However, according to Williams, the primary reason for the ethereal atmosphere in Marsden's photos is his choice of film, which is now discontinued: "Kodak HIE-135 infrared, sensitive to 900nm, with no anti-halide backing. This produced the 'halo' effect seen in many of his high-contrast images" (Williams, 2015). This halo effect, a key signature of Marsden's work, is responsible for the haunting aura in most of his images. It is clearly visible in Figure 12, where it surrounds the edges of the church, suggesting a spiritual presence.
Figure 13 illustrates the impact even light clouds can have on an infrared image. The wispiest clouds still reflect infrared light, obscuring the deep black of the sky. Marsden used this to his advantage, making the clouds over the castle appear like supernatural entities drawn to the eerie structure. As Blegvad notes, Marsden did not aim to capture spirits on film; rather, he was haunted by the atmosphere of certain places and their untold narratives (Blegvad 2012). By focusing on the sky in this image, Marsden evokes a sense of spectral presence without claiming to have captured it. Similarly, I aim to encourage my audience to reflect on their own ideas of loss without explicitly telling them what to think. By creating images that evoke emotion and contemplation, I hope to engage viewers in a personal exploration of the themes presented in my work. Ghostly images suit the theme of loss, and Marsden's work demonstrates that one can create an ethereal atmosphere without attempting to capture the presence of a spirit, whether authentically or through image manipulation.
Conversely, Figure 18 (below) is said to depict the ghost of the "Brown Lady" of Raynham Hall. Whether this image is intended to be viewed as an authentic capture of a ghost or as a creation resulting from Marsden's careful use of dodging and burning during the printing process remains unclear. This ambiguity is further complicated by two conflicting statements made by Marsden, as recorded in The Telegraph. On one hand, he states, "It is not my intention to try and convince you that ghosts exist, but rather to inspire you not to take everything around you at face value". Yet, he also says, "I believe that another dimension, a spirit world, runs parallel to our own, and that sometimes, when the conditions are right, we can see into and become part of this supernatural domain" (The Telegraph, 2012). Marsden's work explores the "unreality of the 'real' and the reality of the 'unreal'" (The Telegraph, 2012), challenging viewers to question their perceptions and beliefs. This tension between scepticism and belief adds a compelling layer to the interpretation of his images. Is he merely evoking a sense of mystery and encouraging viewers to question their perceptions, or does he genuinely believe in and aim to reveal glimpses of a supernatural realm through his photography? This complexity enriches the viewer's experience and deepens the intrigue surrounding his work.
Figures 15, 16, 17, and 20 (above) feature archways, an interesting structural feature often found in old buildings and decaying ruins. This symbolism aligns well with the theme of my project, "Realms of Loss", as archways can evoke the notion of gateways to other worlds, inviting viewers to explore the various layers of my work. In the Cornish landscape, I am surrounded by the ruins of engine houses, many of which have archways where doors once stood. This presents an opportunity for me to capture archway photos, which could also symbolise the loss of historical heritage or the decline of livelihoods following the closure of the mines.
While most of Marsden's photos "evoke the stories of the past, found in fascinating buildings and landscapes" (The Marsden Archive, n.d.), he has a small selection of portraiture, mostly consisting of self-portraits taken in infrared. Introducing a human element to his work adds a slightly playful tone to these images. In Figure 19, Marsden looks at the camera from behind a tomb, with his iconic halo surrounding only him, suggesting he may be a ghost. Figure 20 takes on a surreal quality, with Marsden's body seemingly disappearing or blending into the background, hinting that he may be a ghostly inhabitant of the graveyard. This understated humour sets these portraits apart from the rest of his collection. Considering this, I may look into image manipulation techniques to introduce surreal elements into my own work, particularly in the portraits I have planned. I would like to combine standard colour photos with their infrared counterparts to narrate a tale of lost youth and childhood innocence, featuring my friend and her daughter as subjects, with surrealist effects enhancing this contrast.
Marsden's work overall is inspiring and has given me various avenues to explore, from employing image manipulation to achieve a ghostly atmosphere to using archways as symbols of journeying through different realms of loss. As said by Tarquin Blake, Marsden's technique of "enhancing a photograph by covering the subject in a shadowy, grainy, ethereal vale... works so well on the ruins that I love to explore and photograph" (Williams, 2015). I hope to bring a similar surreal tone to my work, capturing the essence of loss and mystery in my photographs.
References
Blegvad, P. (2012) Simon Marsden: Photographer who struggled in his life and work against banal modernity, The Independent. Available at: https://www.independent.co.uk/news/obituaries/simon-marsden-photographer-who-struggled-in-his-life-and-work-against-banal-modernity-7546095.html (Accessed: 27 February 2024).
The Marsden Archive (no date) The Marsden Archive. Available at: http://www.marsdenarchive.com/ (Accessed: 20 February 2024).
NASA (2023) Reflected near-infrared waves - NASA science, NASA. Available at: https://science.nasa.gov/ems/08_nearinfraredwaves/ (Accessed: 09 June 2024).
The Telegraph (2012) Sir Simon Marsden, BT, The Telegraph. Available at: https://www.telegraph.co.uk/news/obituaries/culture-obituaries/books-obituaries/9067498/Sir-Simon-Marsden-Bt.html (Accessed: 20 February 2024).
Williams, J. (2015) Remembering Sir Simon Marsden: Master of Infrared Photography, Shutterbug. Available at: https://www.shutterbug.com/content/remembering-sir-simon-marsden-master-infrared-photography (Accessed: 09 June 2024).
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