From the start of the project, I anticipated taking numerous photos to capture the various facets of loss I wanted to illustrate. However, I quickly realised that I could only display a small selection of them as large prints for the exhibition. I considered printing two or three of my best photos on metal sheets instead of photo paper or canvas, due to the vibrant colours and detail that aluminium printing provides (Hyde, 2024). This method particularly suited the surreal nature of infrared photography. I had previously printed an infrared image on aluminium for a birthday present, and it added real depth to the photo. I appreciated the contrast of printing images of stone ruins on modern metal sheets. I also liked how the durability of the aluminium added longevity to a photo that depicts decay.
As I looked into the metal printing process, I realised that printing at the size I wanted would cost in the region of £150 per image. Although I knew these prints would be expensive, I did not anticipate such a high cost. I had identified eight photos I wanted to display (Figures 1 to 8, below), so I opted for the more affordable option of photo paper. These photos were printed onto large banner paper in pairs, resulting in a set of high-quality images ready for the exhibition.
Figures 2, 3, 6, and 7 all feature rooks, each representing different aspects of the corvid's symbolism: mourning the loss of a loved one, serving as a spiritual messenger, being a feared omen, and finding peace after death. Figure 7 was my most successful photo of the project from a technical perspective, with a balanced composition, sharp detail of the rook, and a shallow depth of field. The infrared technique created an ethereal atmosphere, especially in the pale tones of the background foliage. This rook, with its glimmering feathers, basks in the sunlight as if at peace in the afterlife. The rook images are arranged to face the centre of the display, fostering a sense of connection among the audience and emphasising that despite our individual experiences of loss, we are not alone.
On the left, Figures 1 and 5 depict a golden graveyard. I included cemetery images because death is often the first thing people associate with loss, helping the audience connect with the theme and providing context for the other photos. These specific images evoke both mourning and peace and feature leading lines that guide the viewer through the display towards the centre. Edited with various channel-swapping methods, I achieved a serene atmosphere that balances the realistic and the otherworldly by swapping the red and blue channels and evenly splitting the green channel between red and blue. This created golden tones that are neither as harsh as the acid yellows nor as fantastical as the vibrant pinks.
Similarly, my engine house photos, Figures 4 and 8, use the same golden tones, providing a sense of consistency and uniformity while bookending the set of prints. The golden grass symbolises the riches once found under these mines, while the ruins illustrate the devastating loss the mine closures brought to Cornish livelihoods. These photos are also positioned to direct the audience to the centre of the collection, not through leading lines, but by aligning the horizon with their counterparts on the left. The sea in the bottom images (Figures 5 and 8) reaches the top of the frame, while the horizon cuts across the centre of the top images (Figures 1 and 4), suggesting they are part of the same scene and framing the rooks.
I was away on the day the exhibition was set up, so I created a set of instructions to help my classmates and lecturers display my prints (Figure 9, above). Initially, I planned to have two full banners with two images each and four separate prints for flexible placement, not expecting space for all eight prints on one wall. However, due to our small class size, we had enough space to display all eight of my photos as separate prints on the back wall.
For the private view, I connected my infrared camera to a monitor so people could see themselves in infrared. This was very successful and I got a lot of positive feedback from visitors. It was fun to see how the camera changed the colours of people's clothes, and I was able to demonstrate the effect different infrared filters have as I had attached my variable filter. The camera AV adapter I had purchased did not work, but I had brought both of my camera batteries and a charger, which was enough to keep the camera going for the duration of the private view.
To showcase the rest of my images, I decided to create a small photo book or zine that people could take away. A digital copy of this book is available on Issuu, accessible here or by clicking the GIF below (Figure 10).
For the book design, I chose a square layout to accommodate both portrait and landscape images without placing multiple images on one page. I opted for Mixam to print my books and considered their standard square sizes: 120mm, 148mm, and 210mm (Mixam, 2023). I chose the 210mm size to ensure details in my photos were visible. As shown in Figure 11 below, all photos maintained the same aspect ratio, allowing uniform placement within the 10mm outer margins and 17mm inner margin to account for the gutter.
The images were divided into sections based on different types of loss, each beginning with a poem and a full-bleed image covering approximately three-quarters of the spread (Figure 12, below). I selected photos for the full-bleed section introductions that were visually quiet in the gutter area. Each section's introduction photo alternated between being left- and right-aligned. The poem text boxes were the same width, aligned with the centre of the page number box on the x-axis, and centred on the y-axis, ensuring consistency across all introductory spreads and the main body. Exceptions were made for the first page, featuring a centred poem, and the final page, which included a small centred image and poem. The poems were printed in Calibri Light, size 12, with titles and authors in Calibri Light Italic, size 10. I also used Calibri for all of the text on the cover to maintain consistency.
For the front cover (Figure 13, below), I selected an image that worked well as a square crop: a cool-toned woodland pathway, inviting the audience to journey through the realms of loss. I kept the back cover and spine simple by sampling colours from the cover image. I used the soft blue of the pathway for the back and spine and the pale cream of the leaves for the text. This cream was also used to create a box on the back cover where I placed colour-matched QR codes linking to my Instagram and website.
Mixam offers a wide range of paper options, so I requested a paper sample pack to help me choose the right coating and weight for my book. I have always preferred heavier books with thicker paper, as they feel more substantial and prevent images from showing through to the other side. Additionally, I love the tactile appeal of soft-touch lamination and felt it would give my book a more sophisticated and professional appearance. After immediately ruling out glossy paper due to its squeakiness when touched, I considered natural paper, which has a slightly cream hue rather than a brilliant white. However, because my book contains a mixture of warm and cool images, I chose recycled silk pages for their neutral tone and standard silk paper for the cover.
Ultimately, my chosen options were:
Size: 210 mm x 210 mm
Pages: Full-colour printing, 44 pages, 200gsm Recycled Silk
Cover: Full-colour printing (outside), Soft-Touch Lamination (outside), 350gsm Silk
Binding: Perfect (PUR)
I also ordered some business cards through Mixam, measuring 55 mm x 85 mm with rounded corners. They were printed on the same 350gsm silk with soft-touch lamination as the book cover to give them a luxurious feel and maintain brand consistency. One side features a photo from the Loss of a Secure Future section (Figure 14, below). The other side (Figure 15) contains my contact information with the same QR codes from my book. The background colour is the same cream sampled from my book cover, and the handwritten elements including "Liz Jenkin" and "Infrared Cornwall", along with a doodle of a camera, use orange and dark teal sampled from the photo overleaf. I chose to create these aspects by hand to give the cards a personal touch, aiming to create a sense of approachability for potential customers.
By carefully selecting these materials and design elements, I ensured that both the book and the business cards reflect the high quality and uniqueness of my infrared photography. The soft-touch lamination not only adds a sophisticated finish but also aligns with the tactile and aesthetic experience I want to provide to my audience. Ultimately, my project is about embracing our experiences of loss and finding peace, so I wanted my book to feel pleasant to hold. This cohesive branding across my book and business cards helps convey a professional yet personal and approachable image to my audience.
I had ordered and paid for 15 books and 30 business cards, but surprisingly, I received 23 books and approximately 450 cards. While I know that companies sometimes overprint and send the extras, I did not expect to receive so many! Overall, I am delighted with the printed book. Some of the images, particularly those taken in Bodmin Jail, printed a bit darker than I anticipated, but I feel this minor difference does not detract from the images or the book as a whole.
I also used the handwritten elements and sampled colours from my business cards to create some postcards (Figures 20 to 23, above). Each postcard features a cream border on the front and back, with a desaturated blue area for a stamp on the back, also bordered in cream. The handwritten "Infrared Cornwall" with the camera doodle is centred at the top of each postcard. At the bottom, I have included small text with an image copyright notice, a brief image title, and the location where it was taken.
When looking at other postcards and templates, I noticed that their primary use now is for marketing and business promotion, rather than the traditional use of sending messages and mementoes to loved ones from holiday destinations. However, I preferred the cleaner design of the contemporary postcards above in Figures 16 (Envato Elements, 2021) and 17 (Envato Elements, 2023) over the elaborate vintage ones in Figures 18 (Hart, 2017) and 19 (iStock, 2024). Therefore, I decided to design my postcards with elements from both old and new styles. I aimed for simplicity on the back, while still leaving room for people to write messages, so I ensured my branding elements were small and understated. This approach echoes my project's aim to give people space for reflection.
At the exhibition, the postcards were successful. I printed 80 in total (5 copies of 16 images), and approximately 70% of them were taken in under a week. This suggests that, even if the traditional use of postcards has declined, they are still appreciated as small prints. The most well-received cards featured the glimmering rook, the angel in the graveyard, the balancing quoit, and the blue lake, as all copies of these were taken. Each of these images comes from a different section of the book, indicating that most sections were equally appreciated. The least interest was shown in the photos taken at Bodmin Jail and the line of headstones in the graveyard. While some were still taken, this suggests these may be the least popular photos. Although I received positive feedback about the images themselves, I understand why people might not want to send their loved ones a "wish you were here!" postcard that features a graveyard or prison.
To add further interactive elements and additional ways to access my project, I created a website. This simple site consists of a homepage with a navigation bar containing two anchor links: one leading to an About section, and the other to a Contact section. Additionally, the navigation bar has a dropdown menu directing users to the Realms of Loss and its six subpages. In the middle of the banner image on the homepage, there is an Explore button which also leads to the Realms of Loss page.
To maintain consistency across different mediums, I used the same design elements and colours from my business cards and book for the website. Inspired by Simon Marsden's architectural photography (The Marsden Archive, n.d.), I wanted to feature an image of an archway as the homepage banner, inviting visitors to embark on a journey through the realms of loss by clicking the Explore button centred in the archway. Originally, I had planned to use the photo shown in Figure 24 (above), but another local photographer objected, feeling it was too similar to their work. While my lecturers and I maintained that mine was an original work that was coincidentally taken in the same public place, I chose to replace the image and a alter small portion of wording (Figures 27 and 28) as a gesture of goodwill. For a short while, I substituted the image with one of a different archway from the same location (Figure 25), before finally visiting Wheal Peevor to capture a new photograph specifically for the banner (Figure 26). I had intended to change the banner image after completing this unit of work, as I cannot display photos of National Trust sites on a commercial website. However, this conflict brought that decision forward.
The website is set up with ongoing work in mind. Currently, it showcases only this project, but I plan to develop it into a professional site in the future. The colours on the site mostly match those used in my other materials (Figure 31, above), but some have been darkened to ensure maximum accessibility by providing sufficient text/background contrast within the recommended range. All images are labelled and include alt text for screen readers to enhance accessibility, as seen in Figure 29 (above). The site is simple and easy to navigate, featuring a "back to top" button on every page. In addition, the bottom of each content page contains a range of useful hyperlinks, including Google Maps links to the locations where the pictures were taken, links to the poetry cited, and links to referenced research in the accompanying text.
I have included a contact form on the website, which securely stores data (Figure 30). The form includes a statement explaining that information will only be kept for communication purposes and not for newsletters or other marketing activities. Before launching the site as a professional platform, I will ensure it is GDPR-compliant and add an accessibility statement and privacy policy. The website is a premium Wix site, and while I have purchased a domain name (www.infraredcornwall.com) the site is still accessible through the free Wixsite URL (www.lizjenkin.wixsite.com/infraredcornwall) and the QR codes printed on my books and business cards. I also have the option to set up a shop for selling prints and other products, but I will wait until the policies are completed to ensure the security and privacy of my prospective clients.
Figure 32 (above) shows the invitation to the private view of our exhibition, and Figure 40 shows the infrared camera live view in action. It was a fairly quiet event, but I was thrilled that my parents and husband could come (Figure 39). I knew some of my friends were also coming to support me, but I was surprised to also my friend's daughter (Figure 38). This is the same (not-so) little girl I photographed for my induction project in my first year. Watching her play with the infrared camera made me feel as if I had come full circle, and was a lovely way to conclude my studies.
Figures 41 and 42 (above) show the comments in our guestbook, and I am so proud to have created a body of work that was so well-received. My classmates' work was amazing, and I am honoured to have been part of this exhibition alongside them.
References
Envato Elements (2021) Minimal Postcard, Envato Elements. Available at: https://elements.envato.com/minimal-postcard-C2LAL7 (Accessed: 12 June 2024).
Envato Elements (2023) Postcard Template, Envato Elements. Available at: https://elements.envato.com/postcard-template-9K9S7Z (Accessed: 12 June 2024).
Hart, W. (2017) 12 antique postcard backs instant download set of 12 printable postcard backs download, Postcard Collage Sheets, vintage postcard backs - etsy France, Etsy. Available at: https://www.etsy.com/fr/listing/784317302/12-antique-postcard-backs-instant (Accessed: 12 June 2024).
Hyde, B. (2024) What is a metal photo print?, Max Spielmann. Available at: https://www.maxphoto.co.uk/inspire/what-is-a-metal-photo-print (Accessed: 11 June 2024).
iStock (2024) Vintage postcard back pictures, images and stock photos, iStock. Available at: https://www.istockphoto.com/photos/vintage-postcard-back (Accessed: 12 June 2024).
The Marsden Archive (no date) The Marsden Archive. Available at: http://www.marsdenarchive.com/ (Accessed: 20 February 2024).
Mixam (2023) Photography books: Printing your photography book, Mixam. Available at: https://mixam.co.uk/photographybooks (Accessed: 27 April 2024).
Comments