PHOTOGRAPHERS – SHARE YOUR WORK, SUPPORT A CHARITY!
Metro Imaging is proud to be working with PhotoVoice once again to collaborate on their September Photography Competition.
PhotoVoice is an award-winning UK-based charity that works across the world using participatory photography for social change.
Its innovative and award-winning projects have addressed issues as diverse as climate change, political engagement, women’s rights, refugees, HIV, disability, sexual exploitation and many more – all through the lens of photographs taken by communities affected by these issues.
Professional Photography is the market-leading magazine for professional photographers. Each issue celebrates world-leading professionals and their work through in-depth interviews and extensive photographic portfolios.
Every two months, photographers worldwide will be invited to submit images based on a theme which has been inspired by PhotoVoice’s projects, past and present.
The winner will have their images featured in the pages of Professional Photography, in PhotoVoice’s quarterly publication Photo Voices, on PhotoVoice’s website, and receive a small cash prize.
All winning images will be exhibited at The London Photo Show at the Strand Gallery in October.
Theme – Tolerance
Opens – 04/09/2017
Closes – 27/09/2017
“This picture was taken in Al Wade street in the old city of Jerusalem, where we can see Muslims and Jewish in the same street – though not walking together.”
© Areej Mustafa Abu Sarah | PhotoVoice | Parents’ Circle | ‘Side-by-Side’ | Palestine
In celebration of both the Jewish New Year (Sept 21st) and Islamic New Year (Sept 22nd) this month’s competition is inspired by Areej Mustafa Abu Sarah who was a participant on the PhotoVoice project ‘Side-by-Side’ which worked with Palestinian and Israeli teenagers from across Israel and the West bank.
Inspired by Areej’s depiction of both Muslims and Jews walking along the same street we want to see images that reflect on the theme of ‘Tolerance’.
Entry is free for PhotoVoice members, or £10 to enter for non-members. To find out more and to enter, please visit – www.photovoice.org/competition
More About Side-by-Side
The Side-by-Side project brought together six Isreali and six Palestinian teenagers in Israel and the West Bank to enable open dialogue and provide perspectives from both sides of the Arab-Israeli conflict.
The young people were all members of the Palestinian-Israeli organization the Families Forum, a network of bereaved families dedicated to non-violence and dialogue. Participants recorded their daily lives and used photography to voice their losses, frustrations and differences. Their images were then posted to an online forum where the young people could view and comment on the work of others, find common ground and gain friendships.
With a predominant interest in sexuality and how individuals come together to connect, Ellie English’s first solo exhibition at Doomed Gallery explores what value we place on intimate interactions.
Through the practice of photography, English’s work acts as a means of building bridges and creating a space in which important questions are raised & conversation is provoked.
English’s work documents the experience of wandering from lover to lover while opening a window to the viewer into the world of non-monogamy relationships as a young woman from a sex positive perspective.
We catch-up with English ahead of the exhibition to chat about her practise and the importance of printing..
So, could you describe your work and tell us about your photographic process?
The way in which I photograph is of a very diaristic nature, also probably somewhat naive. Diaristic in that I don’t do ‘photo shoots’, nor do I think about scenarios, situations or images I want to create for the camera, I photograph moments in my life as they happen, I may ask somebody to stay in a certain position in order for me to get my camera, but that’s as far as ‘staging’ a photograph goes. And this is incredibly important to me, my work isn’t about creating false stories, but the direct opposite, it’s about showing something real, something that feels honest, because that raw honesty is what makes it important.
When I say that my approach to photographing may be somewhat naive, what I’m meaning is that I instinctively take a photo, paying little attention to how I frame an image, or waiting for the right moment. Most of my photographs are taken mid conversation, or mid happenings, there isn’t actually any time to think too much about creating a perfect image. It’s basically a continuous documentation of my experiences as they happen – it’s how I think about these photographs and how I bring them together which is the most significant part of the process.
Despite my work being of a very diaristic nature, I’m not wanting to just showcase my life, thats not what it’s about. It’s about creating a space in which conversation is being provoked around matters which aren’t openly discussed with any real meaning. During the final year of my degree I made work on sadomasochism, a series of self portraits that depicted me in numerous states of engagement with S&M practices, not only did it act as a window into a world that is rarely seen (in any real sense), but it spoke about sexuality from the perspective of a young woman. That work was, and still is incredibly important me.
Before I really found my feet, and understood what my relationship with photography was all about, I experimented quite a lot with self portraiture and photographing those close to me, and I guess back then I used photographs as a means of creating an external space where I could unpick my thoughts, and try to understand the world around me. These are no longer my sole motivations or intentions.
Photographs have this insane ability of building bridges, bouncing off of one another, being suggestive, leading the viewer to question what isn’t being shown, and as I mature as an artist, its that which I’m trying to tap into.
What can we expect from the ‘DRIFT’ exhibition?
Not wanting to give too much away, I’ll keep it brief; the work being shown is speaking of non monogamy, the drifting from lover to lover as well as the still and in-between moments that come with that. My intentions aren’t to push at the adoption of such a way of life, but to show a perspective. An alternative perspective on love, connection, sex and relationships.
I’ll also be showing a large number of instaxs, which has been my sole method of photographing for the last 2 and a half years, it will be interesting to exhibit my work in such a way that also speaks directly of my photographic process. I’ve built up a pretty good relationship with Doomed Gallery over the last year, so its great to finally have a show there, and the space works really well with my work.
How did you start working with Metro Imaging?
In early 2015 I did some short term work experience at Metro whilst I was at Uni. My time at Metro really gave me a boost of self confidence in relation to my work, I learnt a lot in regards to the technical and professional side of the photography industry, but what benefitted me more than anything was the personal interactions I had with the staff, they were genuinely interested in my practice, engaging in conversation and helping the younger and less confident me gain a bit of assurance. And that’s why I still have a relationship with Metro Imaging, they’re professional, yet they still have real and genuine character.
Do you think printing is an important part of the photographic process?
Printing is an incredibly important part of the photographic process, how work is printed and shown will of course play a huge part in how anyones work is to be read. Considering I currently only shoot on instax, being able to blow my images up from their original size of just a few inches, to a much larger scale at a high quality is essential.
Are you currently working on another / new project?
I’m working on a number of things (laughs). Because of my approach to photography, I’m continuously photographing my interactions and experiences on a day to day basis, which in theory gives me a number of subjects to be making work about, its about tuning in to what I’m wanting to speak about and bringing images together that work with that. I’ve been photographing my father for quite a while, and plan to really do something with that over the next couple of years. But as for the moment, my predominant interest lies within sexuality. The work I mentioned earlier on S&M is something I will return to when I am in a position to do so, I’m not currently engaged in any established Dom/sub relationship, so that effectively cuts me off from continuing that work at this moment in time.
DRIFT is going to be an exhibition of where I’m at with this body of work right now, depending on how the show goes will probably have a part to play in determining where my attentions are focused over the next several months. I definitely have a lot to say, I’m just letting my work take itself where it needs to go and at the pace in which it needs to get there.
With over 37 years of experience working within the visual arts industry Metro prides itself on the creative experts that make up our diverse team- from print technicians and retouchers to framers, scanners and client care – what our team don’t know about photography and print production just isn’t worth knowing!
Today’s tips come from our specialist framers and their advice on planning ahead when framing your photographic or art prints
1. Consider how you intend to present your work before printing (sizing and paper type can work better with certain frame styles).
2. Remember you want to show off the work – the frame should formalise but not dominate the work (less is more).
3. Be practical with what is achievable within your budget and time constraints (the finished product can still look fantastic if you have imagination and plenty of time).
4. Cheap ready-made frames will detract from your work, and may not be any cheaper than some bespoke frame options.
What is a limited edition print? In printmaking, an edition is a number of prints struck from one plate, usually at the same time. Most artists produce only limited editions, normally signed by the artist and numbered (eg 5/50) to show the specific print number and the total edition size. With limited edition work there will only ever be a certain number of prints produced and once they are sold, they’re gone!
Metro Imaging was one of the first UK photo imaging companies to introduce a Bespoke Limited Edition Print Service for photographers and artists. The demand for limited edition runs of prints is expanding and with that, there comes a responsibility for establishing both quality and provenance.
We work very closely with clients using our Metro Imaging Bespoke Premier Service to produce high-quality master prints. Once these prints are produced any further run on or edition is guaranteed to be consistent with the first print.
We pride ourselves in the way in which our specialist printers and technicians work – machines are regularly calibrated and serviced to ensure continuity and printers liaise directly with clients to maximise the working partnership.
In support of the edition printing service, we can provide Certificates of Authenticity and are also working closely with Tagsmart to provide non-invasive DNA and watermarking services to further protect our clients work. Our clients can also be reassured that it is their named printer that is producing the work and as we collaborate directly with manufacturers we can advise on the longevity and archival stability of materials.
We can help you create limited edition prints of your art and photography via our Bespoke Premier Service.