More Than Portraits: Building the 40 Over 40 Exhibition”

Poster for 40 over 40 exhibition.

Starting a photoshoot project with the promise of a gallery exhibition can feel overwhelming—especially if you’ve never done anything like it before. You might not know where to begin, how to organise it, or what steps to take. But sometimes, when the time comes, you simply have to figure it out and make it happen.

That was the spirit behind the 40 Over 40 photoshoot project. The idea was simple, yet powerful: to photograph 40 women in their 40s, 50s, 60s and beyond. Women who may have never stood in front of a professional camera before, or women who wanted to celebrate their lives and milestones through beautiful, magazine-style portraits. The heart of the project was not just in creating images, but in listening to their stories—stories of resilience, growth, joy, challenges, and transformation—and giving those stories a voice through both words and photographs.

When the portraits were finally created, and the stories gathered, the next step was to bring everything together in one place. That meant printing each portrait, pairing it with the woman’s story, and curating them into a gallery exhibition. The idea was to not only showcase the beauty of these women but to also give them a space to be celebrated collectively.

40 over 40 Exhibition from Vilija Skubute Photography.

Of course, it all sounds easier said than done. How do you actually make a gallery show happen if you’ve never done one before? The first and most crucial step is to find a space. That doesn’t necessarily mean a traditional art gallery. It could be anywhere with walls and foot traffic—a pub, a library, or even a café that’s willing to host an exhibition. In my case, I was lucky. I found a space at MediaCity Lowry shopping mall, where Salford Loading, an organisation dedicated to revitalising empty retail units, had converted one into a community pop-up space.

I reached out, shared the project idea, and they immediately saw the value in it. They agreed to rent the space for a full week. That week became not just an exhibition but also a form of live advertising: every day people wandered in, saw the portraits, read the stories, and engaged with the project. It built awareness, sparked conversations, and gave the project a life beyond the photos themselves.

And then, at the end of the week, came the most meaningful moment—the celebration day. All 40 women were invited to gather, meet each other, and stand proudly in front of their portraits. It wasn’t just about the photographs anymore; it was about community, connection, and celebrating lives that deserved to be seen.

One practical note: if you’re considering renting a public space, remember that you’ll need Public Liability Insurance. It’s a requirement for most venues and ensures you’re covered in case of accidents or unexpected issues.

The next step after finding the exhibition space was perhaps the most tangible and

exciting part—the prints. This is where the portraits truly come to life, transforming from digital files on a screen into something people can hold, see, and connect with in the real world.

But presenting prints is not as straightforward as it may seem. There are endless decisions to make: What size should they be? What kind of paper? Should they be matted, or left bare for a modern feel? Each choice affects how the viewer experiences the images.

As I thought about it, one practical question kept circling in my mind: What happens to the prints after the exhibition?Some participants might want to keep theirs, others might not. And since this was a temporary show, I knew I didn’t want to create heavy, framed pieces that would be difficult to store, transport, or pass on. The solution had to be simple, affordable, yet still elegant enough to honour the women being celebrated.

I decided on A3 posters, a size large enough to have presence but still manageable. To elevate them, I placed each print in an A2 white mount (mat board), giving the portraits breathing space and a clean, professional look. The simplicity of white mats meant the focus would always remain on the women and their stories, rather than the framing.

I was fortunate to have a local printer nearby who produced beautiful quality posters. The prints had richness, clarity, and a professional finish that did justice to every portrait. For the mats and backings, I turned to Amazon, where I ordered A2 white mats along with sturdy A2 backing boards. To assemble them, I used strong paper glue, fixing the mats and backings together at the corners in a way that created a sleeve. This meant I could simply slide each A3 poster into place without damaging it, and if someone wanted to take their portrait home afterwards, it would be easy for them to keep.

This method struck the perfect balance: clean, professional, affordable, and practical. The portraits looked cohesive and polished when hung in the gallery, yet they weren’t overcomplicated or wasteful. Most importantly, the presentation allowed the women’s stories and faces to shine as the true centrepiece of the exhibition.

40 over 40 Gallery Exhibition by vilija skubute photography

The third step was perhaps the most delicate and meaningful of all: the women’s stories. The portraits were powerful on their own, but I knew the project would not be complete without their voices. The whole purpose of 40 Over 40 was not just to show faces—it was to honour lives, experiences, and personal journeys. The question was: how do I represent their stories in the exhibition space so that people could truly connect with them? In the end, I chose a simple but effective approach. I printed every story on A4 white paper, clean and unadorned. I wanted the words to remain approachable and readable—without over-styling or distracting design. It was important that the stories felt authentic, almost like personal letters written directly to the viewer. Because this project unfolded over several years, I added the age each woman was at the time of her photoshoot. That way, even though time had passed and many of them had since grown older, visitors could clearly understand the context of the portrait and story.

Another important step was spreading the word—not only to the women who had participated but also to the wider community. After all, this project wasn’t meant to live quietly; it was created to be shared, celebrated, and to inspire. I began with the participants themselves. I wrote emails to each of the women, telling them about the upcoming exhibition. For those who didn’t reply right away, I picked up the phone, leaving personal voice messages or speaking to them directly. It was important to me that every woman felt included, informed, and personally invited. For the general public, I wanted to build anticipation and curiosity. I created a Facebook group dedicated to the project. Alongside that, I used social media posts to spread the word more widely, reaching people who might not otherwise have heard about the project but who could be inspired to come and see it. To extend the reach even further, I prepared and sent out a press release to local newspapers and magazines. Out of all the outlets I contacted, one picked it up: Salford Now, a local online news platform. Even though it wasn’t every paper in town, that one feature mattered. It gave the project visibility outside of my immediate circle.

The exhibition space was ready, the prints were prepared, the participants were informed and excited… and now it was time to bring the project to life on the walls.

Walking into the empty gallery, I felt a mix of anticipation and nervous energy. How would all these portraits, each a unique story and face, work together in a single space? The room offered a few different hanging options—rails, hooks, and selfs —and I had to carefully consider the flow, the spacing, and the sightless so that each piece could breathe and be appreciated.

I measured the center of every A2 mat and hung each portrait with care, double-checking alignment and balance. It was a meticulous work.

Deciding which image went where became both a technical and creative challenge. I chose to arrange them by colour, letting subtle tones and contrasts guide the eye across the walls. So step by step, the space transformed from empty walls into a gallery full of life.

The conclusion, looking back, is simple yet profound: every bit of hard work, every worry, every late-night decision was absolutely worth it in creating 40 over 40 Exhibition. This project pushed me to step into unknown territory—organising a gallery, managing logistics, figuring out costs, and coordinating with participants and venues—but in doing so, I learned so much. I now understand the intricate process of creating an exhibition from start to finish, and I feel better equipped and more confident for the next time.

Beyond the practical lessons, what truly matters is the impact on the women themselves. I was able to create a beautiful, welcoming space where participants could come together, meet each other, and share their life stories. It was a space of connection, reflection, and celebration—a place where their experiences could be honoured, and where they could see themselves and each other represented with dignity and joy.

This exhibition was more than just an event; it became a living, breathing community. The portraits and stories were displayed not merely as art, but as testimonies to resilience, courage, and beauty at every age. And in that space, participants had a moment to pause, celebrate, and feel seen—not just by the camera, but by each other and by the world.