Home

Metro Imaging is proud to be producing amazing work for selected talented artists who are showing on FORMAT 19, the UK’s leading international contemporary festival of photography and related media.

FORMAT’s biennale edition incorporates over 30 of Derby’s most beautiful buildings and key landmarks including QUAD, University of Derby, Derby Museum & Art Gallery, Derwent Valley World Heritage Sites, Market Place and satellite venues in nearby cities, where the festival will be taking place from 15 March to 14 April.

This year, Metro’s FORMAT highlights include:

EMILY GRAHAM: The Blindest Man

This is the real story of an unsolved treasure hunt, in which a gold sculpture is buried in the ground somewhere in France. The treasure has been hidden for more than 25 years. A community of treasure hunters continue to search for the gold, guided by a book of allusive clues, released by an anonymous author, who has since died.

Exploring the parallel relationship between fact and fiction, Graham acts as a treasure hunter too, following the players’ contradictory solutions and routes across France, searching for photographs along these routes. Guided by the players’ experience and journeys, Graham discovers the precarious nature of interpretation and pursuit and the photograph’s ambiguous relationship to truth and information.

Metro Imaging worked closely with Emily to produce all prints and frames for her show.

RICHARD ANSETT: BIRTH

Birth is the product of a five-year collaboration with artist and Turner Prize winner Grayson Perry developing his photographic persona. Here Perry returns to the inexhaustible motif of Mother and Child presenting an alternative to the hetro-normative.

The 60×40″ photographic portrait is produced onto Kodak Duratran, then reverse mounted on acrylic, by our expert printing and mounting technicians here at Metro Imaging, complete with a bespoke lightbox frame.

EDGAR MARTINSWhat Photography has in Common with an Empty Vase, part of the group exhibition Mutable/Multiple

What Photography has in Common with an Empty Vase is developed in collaboration with Grain Projects and HM Prison Birmingham (the largest category prison in the West Midlands), its inmates, their families and other local organisations. It reflects on the uncertainty of dealing with the absence of a loved one, brought on by enforced separation, while addressing ontological questions of the status of the photograph when questions of visibility, ethics, aesthetics and documentation intersect.

MARTIN SEEDS, Brighton Photo Fringe Danny Wilson Memorial Award 18 Winner

Martin Seeds’ trilogy of projects, Disagreements, Masks and Open Ground have been made in response to the breakdown of the Northern Irish Assembly; the increase in terrorist activity and the potential repercussions of BREXIT upon the already unstable Northern Irish landscape.

The work was made by placing an iPad directly onto light-sensitive paper, resulting in soft, yet haunting images. All images were printed onto silver gelatin black and white paper by Metro’s master printers.

Join artists Simon Roberts, Martin Seeds and Mark Duffy for a tour and talk about their Brexit related projects at The Brexit Shop –group presentation curated by Peter Bonnell. (Booking is essential)

JAMIE MURRAY, THRESHOLD Metro Student Photo Award 18 Winner

In his current project Folly, Murray looks at the effect incarceration has on prisoners and how they respond to being excluded from the world. Meeting with ex-prisoners, Murray weaves the stories they share with him into his series of images, offering a visual interpretation of how prison can affect an individual.

Don’t miss out his award-winning image ‘Soul’, part of the Folly project on show!

And last, but not least, FORM Fringe

Metro Imaging is partnering with FORM Open Call, which will consist of a series of exhibitions and events in Derby, coinciding with FORMAT Festival 2019. The Open Call invites artists interested in working collaboratively to join FORM Fringe and benefit from peer support, critical feedback, and the opportunity to exhibit. Metro Imaging will be supporting the exhibition production offering 12 selected artists a £100 print bursary.

Introducing our newest Black & White Paper: HARMAN GDS FIBRE-BASED MATT, providing a flat-matt alternative to our signature fibre-based paper.

In response to the increasing demand, HARMAN has introduced a brand new silver gelatin, premium quality, matt finish, panchromatic photographic paper that not only replicates the qualities of their Fibre paper, but is also receptive to hand colouring and chemical toning, making this hybrid product completely unique. Metro has been working closely with the company to test the paper in order to produce the best quality print possible.

“It has taken a number of years to develop the HARMAN GDS FB Matt paper and we are delighted by the results. Feedback from the market trials of the product has been spectacular so we are really excited about finally being able to get a product such as this out to our photo lab customers.”
Giles Branthwaite, HARMAN Sales & Marketing Director.

Formulated with the very latest B&W Silver Halide Emulsion technology, and optimised for digital exposure, the fibre-based matt delivers excellent contrast and sharpness with a neutral image tone. Allowing for superb and continuous B&W tones on both images and text, the gallery-quality results are equal to those seen with traditional B&W hand-printing, but can be prepared from a variety of mediums, such as B&W or colour negatives, positives or prints.

The new HARMAN GDS Fibre-based paper stands alongside our original format at 310gsm but with a double-weight Baryta matt finish. Supplied on a 50″ (127cm) roll, we can produce prints up to 108 x 48″ (2744 x 1219cm).

Prices can be found here.

Pictured: HARMAN GDS Fibre-based Matt (left) overlaid HARMAN GDS Fibre-based Gloss (right).
Image © Karen Hook

Metro Imaging is excited to once again be working with our East London neighbour, Curious Duke Gallery, to support their fifth annual Secret Art Prize. The Secret Art Prize offers the chance to have your work viewed by some of the most influential people in the art world and is open to both urban and contemporary artists of multiple disciplines. This year’s winner will have the opportunity to showcase their work within a dedicated space at Moniker Art Fair, full representation from Curious Duke Gallery and much more. As part of the collaboration, Metro is offering a Premier Print and Portfolio Prize worth over £500 for the winner.

Who can apply? 

The Secret Art Prize is open to all urban and contemporary artists. Disciplines welcome include painting, sculpture, drawing, printmaking and photography. (Film and performance pieces are not accepted).

Prizes:

The winner of Secret Art Prize 2019 has the opportunity to showcase their work within a dedicated space at Moniker Art Fair with curatorial support from both Moniker Art Fair and Curious Duke Gallery. They will earn full representation from Curious Duke Gallery, mentoring from CDG founder Eleni Duke, a cash prize, gifts from Great Art, and a Premier Portfolio Prize from Metro.


The Metro Premier Print and Portfolio Prize 

The Premier Print + Portfolio Prize is worth over £500 and includes:

– Set of x10 portfolio prints based on our Premier Bespoke Service

– A guided lab and production tour

– A one-to-one portfolio review with the Creative Director

– Tailored production advice with a Metro Imaging print technician


There will also be four runners up who will receive £250 voucher from Great Art, mentoring with Eleni Duke, representation from Curious Duke Gallery, and a place in a group exhibition at Curious Duke Gallery.

How To Apply:

Applications are open 1st March – 31st June 2019.

There is also The People’s Choice Award –a long list of 100 applicants’ artwork open for public voting. The winner will be immediately accepted into the shortlist of the final 10 applicants eligible for the Prize.

 

APPLY NOW!

 

All Images Ⓒ Courtesy of Secret Art Prize

At Metro, we are committed with the idea of implementing green policies within our practices and we strongly believe this is a huge responsibility from us with our community. This is no easy task due to the nature of the photography as an art, where procedures and materials do not tend to be green per se; however, no matter how small the practices are they sure make a big difference to the planet.

 

We are constantly working on finding more eco-friendly products, procedures, and overall greener practices, as well as we encourage our clients to do the same. When specifically aiming to set up a sustainable exhibition, we try our best to put into practice environmentally friendly ideas, including:

  • Our packaging is predominantly recyclable, consisting of mostly paper and cardboard. We regularly promote the reuse of packaging and shipping materials such as the postal tubes, paper sleeves, and the bubble wrap – of course never compromising the packaging care and quality.
  • We try and send the majority of files digitally rather than providing USBs or disks.
  • Dedicating specific paper bins and recycle all paper and cardboard.
  • Charging for test prints to encourage people not to unnecessarily test and avoid paper waste when possible.
  • Promote printing artwork through Direct To Media (DTM) on reclaimed, recycled, our found materials.
  • Ensure our master printers lay out different up images files on one same page to reduce waste paper t o it’s minimal.
  • The support of our in-house bike couriers as opposed to motorised vehicles.
  • (In the case of group shows) give a date to send one delivery van so all exhibiting artists work can be delivered to the area in one go, as oppose to multiple journeys.

Here are a few suggestions for you on how to be a greener and more conscious photographer and consumer:

  • You could help us minimise the use of plastic bag by bringing your own one for collection of your order.
  • Please, return the post tubes where your artwork was rolled if you don’t longer need them.
  • Drop your film roll containers with us to donate them, or collect them for free if you have a use for them in mind.
  • Use rechargeable batteries for your camera, and always dispose them in authorised recycling points, such as selected superstores.
  • Try acid-free fine art papers every now and then. At Metro, we offer beautiful Giclée papers for you to choose, which are acid-free.
  • Experiment Direct to Media printing on recycled, reused, or existing substrates, and give your work and artistic twist.
  • Another important thing for all of us to consider is to shop locally. Metro Lab is all 100% London based, meaning less carbon footprint.

 

Metro and the planet will thank you;)

 

  • In Metro, we reuse packaging and shipping materials such as the postal tubes and the bubble wrap, yet never compromising the packaging care and quality.
  • Also, we encourage our clients to do the same and to return the post tubes where their artwork was rolled if they don’t longer need them. In the same way, we encourage customers to help us bringing their own bags, with the aim to reduce the use of branded plastic bags.
  • Of course, there’s no reuse and reduce without recycling. At Metro, we get to save a lot of film roll containers and make them available for interested customers to collect them for free for craft activities at schools or other recycling activities.
  • Moreover, we have specific paper bins and recycle all paper and cardboard; in the same way, we recycle all the rest of the waste via an outside paid company. Plus, all chemical waste is recycled and taken to a special treatment site where it’s processed for the recovery of silver, which is then sold to the precious metals market.
  • Another important thing for all of us to consider is to shop locally. Metro Lab is all 100% London based, meaning less carbon footprint.

 

At the same time, in Metro Framing department we would:

 

  • Recycle our waste glass and scrap aluminium. Eg. DTM tests.
  • Source our mouldings from sustainable tree farming as much as possible.
  • Use moulding cut-offs for the manufacture of other frames when given the possibility.
  • Offer hire frame service when there is no need for the production of new ones.
  • All materials are cut to size from larger sheets in order to avoid waste.

 

Finally, we would like to say that by 2020, Metro Imaging would be moving towards all packaging materials being one hundred per cent recyclable!

To create a meaningful evaluation of our environmental impact we have concentrated our focus on the following areas:

  1. What legislation applies to us and how we are complying with it
  2. Future legal requirements that pose risks and opportunities to our business
  3. Past and present pollution incidents and potential pollution risks
  4. Raw materials – including materials used in production processes and those used in the day-to-day running of the business.
  5. Packaging – how it is used, how it is made, how much it costs and how much disposal costs.
  6. Waste – how much our business produces of different types of waste, size and number of containers, costs of waste removal and frequency of waste collections.
  7. Energy – types of energy used, how much is being used and at what cost.
  8. Water – look at where and how water is used, the cost involved (including effluent disposal), waste and potential for savings.
  9. Transport – including the number of each type of vehicle, mileage per vehicle, type and amount of fuel used.

To gather this information, we have used the following sources:

  • Documentation including waste transfer notes, utility bills.
  • Licences and permits.
  • Metre readings.
  • Policies, procedures and strategy documents from partner organisations and individual research.
  • Walk-around surveys and site inspections.
  • Interviews with key staff.

If you would like a copy of our environmental evaluation, please contact us.

For our newest Mentorship Award, Metro Imaging partnered with SATORI Magazine, offering the opportunity to win a twelve-month tailored Mentorship prize, catered to an emerging visual artist. The ongoing prize includes creative and conceptual advice, professional and business development, marketing identity and PR, technical guidance, networking introductions, plus a solo feature in SATORI Magazine.

After long review process, cutting the entries down to a shortlist of five, the winner’s selection took place on Friday 11th Jan 2019. The judging panel included representatives from SATORI and Metro Imaging, plus external industry influencers.

We are thrilled to announce the overall winner is Gin Rimmington Jones! A huge congratulations to Gin, we’re very excited to be working with her over the coming year.

Co-Founders & Creative Directors of SATORI magazine, Seb Camilleri and Duncan Woods, commented:

‘We were both instantly struck by the strength and quality of Gin’s work, and how in line with the aesthetic, and ethos, of SATORI it is. It’s beautifully mysterious, poetic and philosophical.
We feel that based on the sophistication of her images and approach to her practice, we would have been more than happy to publish it in the magazine as it is, so in turn, we are very excited to see how her projects will grow and develop over the mentorship program. – We’re both thrilled and intrigued as to where Gin’s work will go next, to be a part of a journey with her, and what wider conversations will emerge as it evolves.’

We would like to thank everything who entered the competition, and another huge well done to our shortlisted artists.

To see the full Mentorship information, click here.

To see more of Gin’s work, click here.

IMAGES © Gin Rimmington Jones

Metro Imaging is pleased to be collaborating with Free Range to bring this intimate session to you, including conversations with the artists and exclusive guided tours.

This is a unique event part of the Free Range Awards exhibition programme, chaired by our Creative Director Steve Macleod, and with the so talented photography award winners Cole Flynn Quirke –with his project A Bird Flies Backwards– and Polly Evans –presenting No Man Is An Island– where you will have the opportunity to hear first hand about the process, influences, and practice behind their work.

Meet us in Unit 11 on Monday 11th February at 10:30 am.

FREE Event. RSVP HERE

Monday 11th February, 10:30 am
Unit 11 Dray Walk, Brick Lane, E1 6QL

An arboretum, in the general sense, is a botanical collection composed exclusively of trees. In this case, the group exhibition will present varied photography practices, including the exploration of lighting, film and digital processes, to produce a contemporary photographic arboretum at Lucy Bell Gallery, East Sussex. The installation aims to represent how our relationship with nature is constantly changing, offering a new position to evaluate our place within it.

Featured within the show is recent Chelsea College of Art graduate Zoe Sim. Since winning the 2018 Metro x Made in Arts London Portfolio Prize, Metro has had the pleasure of working consistently with Zoe, producing both new work and edition prints. Her unique style of imagery works incredibly well when printed on Fujiflex Crystal Archive Printing Paper, aka Supergloss. The digital infrared photography experiments with the over-saturation of treescapes into surreal pink worlds.  When asked to explain her work, Zoe states:

“False-colour infrared photography has a dark history, as it was invented for war camouflage detection in the 1940s. However, the aesthetics of pink can trigger contradictory emotions because pink is associated with many politically charged stereotypes. I have found pink to be a challenging colour, it creates strong reactions and complicates artworks in a way no other colour can. My intention is to subvert pink’s usual position in the world and use infrared in a different context; I feel I am able to rediscover its abilities to be ambiguous by creating work that documents nature differently”.

Arboretum is a group exhibition, featuring work by Zoe Sim, Kirsten Reynolds, John Stezaker, Jean-Luc Brouard, Allan Grainger, Faith Powell, Melissa Moore, Ieuan Morris, and Kristof Szentgyorgyvary.

Exhibition Dates: 2nd February – 2nd March 2019
Private View: 15th February, 6-8pm

Lucy Bell Gallery
46 Norman Road, St Leonards on Sea
East Sussex, TN38 0EJ

Open Wednesday – Saturday 11am-4pm, or by appointment.

IMAGES © Zoe Sim

 

Internationally renowned artist Tom Hunter has collaborated with local taxi drivers from Hastings, East Sussex, in order to construct contemporary photographic documentation of the area, the intimate portraits referencing the Hastings Museum and Art Gallery’s current collection.

The taxi drivers, who represent the incredibly diverse community of Hastings, were invited to choose their favourite locations in the area and have their portraits taken at either dusk or dawn, aka ‘golden hour’ or ‘blue hour’. With this aesthetic, Hunter pays tribute to JMW Turner, and the many other artists that have worked there, inspired by the natural landscape and incredible light conditions. Along with the photographs, Tom collected the drivers’ verbal histories and reflections to be included as an additional audio component of the exhibition.

Tom Hunter, an artist predominantly working in large format film, shot the series on 5×4″ E6 sheet film. The carefully chosen edit was scanned at high resolution, then produced as Digital C-type Supergloss Prints by our expert printer John Cleur. The prints have been dry mounted to Aluminium Panels to be hung in Bespoke Frames.

“It is the use of light that ties the pictures together and brings a sense of belonging to the landscape.” – Tom Hunter

The exhibition has been curated by Lucy Bell and David Rhodes. Metro Imaging were pleased to support Tom, a long term client, in the commission, along with Arts Council England, Scott Mead, Hastings Borough Council, 247247 Taxis, Chalk Cliff Trust, and Lucy Bell Gallery.


Exhibition Dates: 9th of February until 9th June 2019

Hastings Museum and Art Gallery
John’s Place, Bohemia Road   
Hastings, TN34 1ET

Admission is free.

For the full press release, and information on print sales, click here.

 

IMAGES © Tom Hunter
1. Ali – Rose Hill
2. Marie-Louise – Pett Level
3. Hans – West Hill

Created by renowned photographer Richard Ansett, this new portrait at the Fitzrovia Chapel focuses on Grayson Perry’s alter ego, Claire.  ‘Claire is not a natural mother. This is a trans-immaculate conception and a perfect synergy with The Fitzrovia Chapel.’ said Ansett of his new work ‘Birth’.

The 60×40″ photographic portrait is produced onto Kodak Duratran, then reverse mounted on acrylic, by our expert printing and mounting technicians here at Metro Imaging, complete with a bespoke lightbox frame.

Artist Grayson Perry will unveil this ‘iconic and iconoclastic’ portrait of himself at the Fitzrovia Chapel at the end of January. A reworking of the motif of mother and child, this huge lightbox will illuminate the chapel from an impious placement on the altar. This piece of art installation showcases a balance between the influence of centuries of art history and religious symbolism with high-camp photographic parody, a vulgar appropriation for the 21st Century. ‘It’s like art.’ says Perry

Faye Hughes, Artistic Director, the esteemed Fitzrovia Chapel, said, ‘We are thrilled to be opening 2019 with the bright lights and glorious contradictions of Richard Ansett’s ‘Birth’. An artist photographing an artist dressed as a woman illuminating a secular chapel that’s dressed like a traditional church. Perfect.’

Exhibition: Fri 25 to Wed 30 Jan 2019, 11:00 – 16:00
Talks: 13:00, Sat 26 Jan and Tues 29 Jan 2019
Admin: Free (exhibition & talks)
Fitzrovia ChapelLondon W1T 3BF
IMAGE © Fitzrovia Chapel & Richard Ansett

 

This autumn, Tate Britain will open a group of new free displays as part of its ongoing Spotlights programme, including the unveiling of a major new installation, titled Lead White, by Zarina Bhimji, and Metro Imaging was lucky enough to work on the production of a number of prints for the exhibition.

The debut presentation of this new installation by internationally renowned artist Zarina Bhimji consists of over 100 unframed photographs and multiple embroideries. Lead White is a profound meditation on power and beauty. It is the culmination of a decade-long investigation conducted over multiple continents, delving into national archives to capture details of words, lines, stamps and embossing. Bhimji creates poetic narratives by editing and repeating these details as if constructing a musical composition. The work also combines digital and physical crafts – including the use of embroidery for the first time in Bhimji’s practice – drawing attention to textures and traces, light and shadow.

Zarina Bhimji was born in Uganda and lives and works in London. She was nominated for the Turner Prize in 2007, exhibited at Documenta 11 in 2002, and is represented in numerous public collections including Tate, the Museum of Contemporary Art in Chicago and Moderna Museet in Stockholm. Lead White has been commissioned by Sharjah Art Foundation and supported by Arts Council England.

Bhimji says her work is about beauty and issues that are personal and universal. She likens her process to a forensic investigator, looking at records of treaties signed and territories mapped, searching for evidence of what crimes could have been carried out.

 

Exhibition Details:

19 NOV 2018 – 2 JUN 2019, 10am. – 6pm.

Tate Britain, main floor
Millbank, London SW1P 4RG

 

All Images by © Zarina Bhimji

Metro Imaging is proud to continue it’s ongoing partnership and support for Portrait Salon 2018. This year, the eighth edition of Portrait Salon will not only be showcasing a selection of rejected work from the Taylor Wessing Photographic Portrait Prize but will also include rejections from The British Journal of Photography’s Portrait of Britain competition.

Portrait Salon aims to question the place of competitions within the photographic industry, and their role in determining current trends. By accepting these rejected submissions, the intention is to show that there is top quality photography not getting the exposure it deserves.

For this year’s competition, there were no judges: the final selection for Portrait Salon 2018 was completely made by the public. After the submission deadline on September 14th 2018, all entries were available to see via the Portrait Salon website, allowing two weeks for the public to vote for their preferred image. The ones with the most votes would win the chance to be part of the Portrait Salon 2018 exhibition. Over 15,000 votes were placed, with a final selection of 52 portraits.  You can read how Tom Hole at Stirtingale crunched the numbers here.

The selected 52 portraits will be projected in the exhibition at Peckham Levels, with a clear indication of which images have been rejected from the Taylor Wessing Prize and which from Portrait of Britain. Accompanying this will be a very special publication designed by Stanley James Press.

 

Exhibition Details:

27th November, 6.30 to 10.30pm.

Level 5, Peckham Levels
Peckham Town Centre Car Park
95A Rye Lane
London, SE15 4ST.

 

Images ©
  1. Simon Bray – John.
  2. Anneleen Lindsay – Caroline at the Back Door

Collaborating on many of The Photographers’ Gallery’s exhibitions and events over the past few years including Terrence Donovan’s Retrospective Show, Punk London, and their Folio Friday programme.

Official Print Sponsor of Portrait Salon since 2011 and one of the hosts of Portrait Salon’s 2016 Exhibition Tour

Metro are proud to be partners with Autograph, supporting throughout the production of exhibitions. The photography and film Art Gallery explores identity, representation, human rights, and social justice.

Metro Imaging are pleased to have printed work for the presentation of Destinerrance, an exhibition by Edgar Martins at Purdy Hicks Gallery.

Both large- and small-scale Digital C-Type Matt Prints were produced for the show, comprising of previously unseen works from Martins’ most recent projects: Siloquies and Soliloquies on Death, Life and Other Interludes (2016-17), and What Photography has in Common with an Empty Vase (2018).

Martins uses photography to develop a philosophical, quasi-scientific investigation, examining various minimalist concepts of the contemporary urban landscape. Moving between the factual and fictional, between the concrete and the metaphorical, the artist operates within a landscape of uncertainty, permanent flux, transition and opposition. Destinerrance is themed on the object of the letter as a medium of documentation, visibility, and absence, represented here through abstraction, association, with collages and investigative still lives.

Destinerrance is a term proposed by the French philosopher Jacques Derrida in his seminal book La Carte Postale. According to the author, Destinerrance combines notions of destination and destiny with error or errancy. The images included in this exhibition tap into Derrida’s conception of Destinerrance; the work explores the philosophical concept of absence and addresses a broader consideration of the status of the photograph when questions of visibility and documentation overlap.

From a humanist perspective, the work seeks to reflect on how one deals with the absence of a loved one, brought on by enforced separation. From an ontological perspective it seeks answers to the following questions: how does one represent a subject that eludes visualization, that is absent or hidden from view? How does photography address the politics of visibility in an era that privileges transparency but is also sceptical of fact? And what does it mean for photography, in an epistemological, ontological, aesthetic and ethical sense, if it does not identify with the referent but the absence of the referent?

Exhibition dates: 12 October – 10 November 2018
Opening Times: Mon – Fri 10am – 6pm & Sat 11am – 6pm

Purdy Hicks Gallery
25 Thurloe Street
London, SW7 2LQ

Information © Purdy Hicks Gallery Press Release
Images © Edgar Martins, all via www.edgarmartins.com
  1. Rothko’s death changed everything Dead man tell no tales, 2017
  2. Destinerrance Installation at Purdy Hicks Gallery, 2018
  3. Destinerrance Installation at Purdy Hicks Gallery, 2018

 

As main partners and official print sponsors of Brighton Photo Fringe 2018, Metro Imaging were delighted to be invited to present a show as part of the festival, showcasing a mix of artwork from our talented members of staff, as well as a selection our Metro Imaging Mentorship winners.

In 2005 Metro Imaging established a Mentorship platform to support photographers and graduates making the transition out of education or a self-taught background. The programme has gone on to be highly regarded in the industry as a vital stepping-stone into the creative industries, with notable mentees such as Felicity Hammond, Carl Bigmore, and Alexander Mourant.

This year, Metro invited LCC graduates Sophie Hambling & Shahram Saadat to curate the exhibition of Mentors & Mentees. Artefact is a mixed collection of work by current Mentorship Winners: Polly Evans, Emily Marshall, Cole Quirke, Scarlett Platel, Zoë Sim, and Nathaniel White, along with pieces by Metro’s own team: David Brazier, Nick Holyman, Patrick Kelly, Vanessa Short and Ciarán Woolcombe, all of which will be on show throughout the festival at Phoenix Brighton.

The varied group exhibition includes a mix of media, such as Black & White Hand Prints, Digital C-type printing on a range of papers, moving image, collage, Photogravures, and Bespoke Mounting & Framing.


Exhibition Details:

29 September–27 October
Wednesday-Sunday, 11am-5pm

BPF18 Collectives’ & Youth Hub
Phoenix Brighton
10-14 Waterloo Place
Brighton, BN2 9NB

 

Featured Images:

  1. Exhibition artwork designed by Sophie Hambling & Shahram Saadat.
  2. Ciarán Woolcombe – Owen Gaming, 2017.
    Bespoke C-type Matt Print, Matt Seal, Bespoke Tray Frame.
  3. Zoë Sim – Friston Forest Glitch 3.
    Bespoke C-type Supergloss Print, Dibond Mounting + Subframe.

 

This September held the launch of Marc Vallée’s solo show London & Paris 2011-2018 in Metro Imaging’s Front of House, showcasing a range of printing techniques throughout the exhibition, the process of which was documented by photographer Alexander Christie.

Having worked closely with Marc for a number of years, it has been especially fascinating to collaborate with him on this, as London & Paris 2011-2018 brings together work from multiple projects for the first time, including Writers, Number Six, Vandals and the City, The Graffiti Trucks of Paris and The Graffiti Trucks of London.

We spoke to Marc about the process of working together:

‘The bottom line with working with Metro is the quality of the work. I like the dark aesthetic of many contemporary Japanese photobooks for both my zines and prints.  Most of the prints in the Metro show are digital fibre-based silver gelatin prints which really do work and blow me away every time I look at them.’

Curated by Metro’s Steve Macleod, the exhibition hosts 19 pieces of artwork, featuring Black & White Digital Fibre-based images, printed by master Lambda operator Sean Mulcahy, mounted to Dibond in Bespoke Frames hand-crafted in our framing workshop. The exhibition also includes images printed directly onto Brushed Dibond and Foamex with our large format UV printer, plus Adhesive Vinyl.

As featured in Hero Magazine, Director Steve Macleod comments on Marc’s work:

‘Disruptive; dirty; honest and essential – this is how I would describe Marc Vallée’s practice. Marc brings our focus into sharp relief, exploring a world that is frequently overlooked and more often misunderstood. However, you do not have to fully understand the nocturnal world that Marc and his subjects often occupy, as there is a serene poetry in every image that goes beyond documentary recording.’

Marc Vallée: London & Paris 2011-2018 runs at Metro Imaging Front of House from September 14th – December 21st 2018.

Don’t miss out on the first time this collection of work has been shown altogether!

Images by: © Alexander Christie

Industry partners with BSAA, a professional development organisation that helps artists, gallerists and other creative professionals thrive in the art market.

Metro works in collaboration with Made in Arts London offering mentorship programmes, partner discounts, and talks to encourage and support emerging photographers.

Metro Imaging are proud to join forces with the Africa MediaWorks Photography Prize, a brand new platform for artists across the African continent, an important new addition to London’s photography scene, and Britain’s first major African photography prize. The competition will showcase contemporary artists who have begun to build a reputation for their high-quality work and are now being recognised globally.

A distinguished international jury of African Art experts have nominated the work of 15 photographers based in countries such as Nigeria, Kenya, South Africa, Ethiopia, Benin and Senegal, as well as artists with diverse African heritage working in the UK. A selected shortlist of 6 photographers will be going on display at the gallery of HKS Architects in London’s Fitzrovia. One overall winner will be announced during the opening and awarded a £5000 grant to produce a further body of work. The varied work on display includes C-typeGiclée Fine Art, and Black and White Fibre-based printing, mounted to aluminium and framed using our custom Hire Frames. The exhibition also features our Adhesive Vinyl and Direct to Media Printing.

The selected 6 artists on show are:

Laeïla Adjovi
Alun [Be]
Rahima Gambo
Sabelo Mlangeni
Adeola Olagunju
Michael Tsegaye

Metro’s Creative Director, Professor Steve Macleod, has produced and curated the exhibition in partnership with the broadcasting company and organisers, AfricaMedia Works. Read more about the exhibition in Nataal’s feature where Steve comments:

“The quality of fine-art and contemporary photography across the African continent is astonishing and should be considered in the same breath as the best photographic artistry of the West. AfricaMedia Works Photography Prize is a presentation of great works by artists that deserve more recognition. We hope the prize will become a permanent fixture on the London photography scene.”

See the full nominee information here.

Exhibition Dates:  4th – 11th October 2018
HKS Architects
Elsley House, 24–30 Great Titchfield St
London, W1W 8BF

Images © Laeïla Adjovi & Rahima Gambo

This October brings the opening of A New Beginning, the annual exhibition of the refugee employment charity Breaking Barriers, to be held at Protein Studios. Metro Imaging have been thrilled to provide production support throughout the undertaking of this group portrait exhibition, co-curated by Rebecca McClelland and Breaking Barriers. The show will display a series of portraits exploring both documentary and fashion photography, all printed directly onto Adhesive Vinyl 

A New Beginning conveys the stories of ten people, and the support the charity has provided them, via interviews by multi award-winning journalist Samira Shackle and photographic portraits taken by the photographers:

Adam Broomberg & Oliver Chanarin
Nick Waplington
Caleb Femi
Campbell Addy
Diana Markosian
Jo Metson Scott
Leonie Hampton
Timur Celikdag
Leon Chew
Samin Ahmadzadeh

Subjects featured include a Syrian family arriving in the UK on an official resettlement programme, without speaking a word of English; a gay man from Egypt seeking personal freedom; a Yemeni Human Rights Advocate displaced by war; a Kurdish political activist forced to flee from Turkey after being handed a jail sentence in childhood; and a teenager from Eritrea making the wildly dangerous illegal overland journey to Britain. They are different ages, from different corners of the world, seeking refuge for a wildly varying host of reasons.

The exhibition highlights significant relationships in the refugees’ daily lives, and offers an alternative way of thinking about their individual stories and cultures, breaking with a heavily defined representation of refugees and displacement. At times, the images and stories describe harrowing journeys and challenging circumstances, but also show startling human resilience, and how hope and optimism that can emerge from personal connections. A New Beginning is a truly moving and enlightening exhibition that you won’t want to miss.

Private View: Wednesday 3rd October, 6:00pm-9:00 pm
Exhibition continues: 4th – 7th October, 8.30am-6pm

Protein Studios
3
1 New Inn Yard
London, EC2A 3EY
FREE ENTRY

Images © Campbell Addy and Nick Waplington.

Metro Imaging as the first integrated tagging and certification reseller.

Proud supporter of the celebrated Free Range annual exhibitions, providing mentorship and sponsorship as part of The FR Awards

Official Print and Framing Partner for Calvert 22 Foundation’s New East Photo Prize Exhibition

Official Print and Framing Partner for Brighton Photo Fringe since 2012, providing mentorship award and professional development talks

Supporting Partners of PhotoVoice, organisation promoting the ethical use of photography for positive social change, through delivering innovative participatory photography projects.

Metro interviewed Jamie Murray, MA student from the University of the West of England Bristol, and the THRESHOLD Student Photo Award Winner.

  1. Firstly congratulations on winning the THRESHOLD Student Photo Award, what does it mean to you to have won?

Thank you! It means a lot to be selected for any award, but especially so from Metro. I know the quality of the work you produce and can’t wait to work together on some prints.

  1. You won your award with the work ‘Soul’, part of your on-going project ‘A Folly of Our Own, 2018’, can you explain a little about the background of the project?

Soul is an ex-prisoner who I sat down with to talk through his experience of incarceration. This meeting is one of a number of face-to-face meetings I have had with ex-prisoners to try and get more of an insight into the affects of the institution of prison. During these conversations, I also make portraits and take notes of what is said in an effort to collect various materials I can refer back to.

I am interested in the notion of documentary within photography and what it means to tell a story from varying perspectives. In a previous work, I sailed with a Royal Navy ship back from their deployment in the Persian Gulf. Although I inherited the feelings of the ship I was on and photographed their story, the work still resided in a place defined by my perspective. If I had spent one day, one week, one month in prison I would not have matched the collective experience of prisoners. There is something about hearing the stories told, embellished in all their glory or sadness, that allows you true insight into the folklore of that place. The experience that counts is the one we remember, and the experience we remember is the story that we tell.

  1. Part of the First Place prize is a year’s mentorship with Metro Imaging, what are you looking forward to learning or hoping to gain from the experts here at Metro?

I have always been interested in the production of photography, whether in prints, books or on screen. I worked in a lab for a number of years which gave me a grounding in the processes used in contemporary printing, I am keen to learn how the professional printers can add something to the final prints. This can hopefully be translated into the production of artist books, which is something I am heavily working on right now.

I’m also always interested in hearing what people from varying backgrounds think about my images, both individually and as a sequence. I can only imagine how many images go through Metro’s doors every day, it must be an incredible cross-section. It is something I miss about working in a lab, you feel like you have your finger on the pulse of what people are shooting. It would be interesting to know what everyone at Metro thinks about these varying visual trends and where they are going.

  1. How would you describe your photographic style and what inspires you to shoot?

Style is a hard thing to define. So far, I have preferred to err on the side of melancholy, but that is not something set in stone. I shoot colour, that was the largest stylistic choice I have made in recent history. I had spent years working with black and white, heavily informed by my influences from when I started photography. The watershed of moving to colour allowed me a freedom to interpret the world in a way less inhibited by what I had seen before.

The inspiration to shoot is like an ever-returning itch. You scratch it when you come across a picture that surprises you, or that helps you see that moment in a renewed light, however a day or two later the itch returns. The more these different moments begin to play off each other, the stronger the itch comes back.

  1. We know photographers always have one eye on their next project, do you have any current projects or upcoming exhibitions you’d like to use your awarded £1000 credit for?

I am in the process of adding to what I have been working on for just over a year now. The work started with Albatross, made whilst on the warship, and has grown to encompass the prison and school as topics as well. It is broaching the ideas of institution and where the affects of these institutions reside in contemporary society. The credit will in some way go towards producing this work. I am having an exhibition of Albatross early next year, that will be the first project to work on.

  1. What are your ultimate photography/career goals?

If I have an ultimate goal, then I don’t want to know what it is right now. There is something quite freeing about not knowing where each choice might take you. This is also present when it comes to making work if it can be planned, conceptualised and then carried out there is a much larger chance of creating something derivative. This is also where collaboration becomes a key point within photography. Collaboration is one way of creating the unexpected. I think it’s healthy for the often-solo photographer to let go of the self and allow others to come in and provide vital new influences and reinvigorate the work, a great example of this is working with a printer.

Ideally, if I can continue to explore the themes that interest me, make work from them, and then produce that work into prints or books then I think will be happy with my lot.

 

Images ©Jamieemurray/’A Folly of Our Own’ Series

1st Image: Winner image – Soul, 2018

Official stockists and promoters of Loupe,  photo magazine with an unpretentious style and approachable ethos, a platform for photographers to show and discuss their projects.

Metro teams up with PYLOT magazine, in collaboration with Fuji Film.

Involved with Black Box Projects, art gallery specialising in contemporary art which is created using photographic materials. Metro have worked closely with their team and artists producing a mix of bespoke frames, fine art Giclée prints and photographic vinyl for exhibitions.

Partnering with SATORI Magazine, to offer visual artists a Mentorship Award, supporting them with professional development, career direction, and industry insight.

Collaborating with Lenscloud, Fine Art Photography platform that aims to democratise art investment for emerging and established collectors, co-creating useful related content.

Metro is one of the sponsors of The Secret Art Prize, presented by Curious Duke Gallery. Award open to all urban and contemporary artists; welcoming disciplines of painting, sculpture, drawing, printmaking, and photography.

Metro works closely with the artists, supporting throughout the production of installations and exhibitions. Hospital Rooms is an arts and mental health charity that transform locked and secure wards with museum-quality artwork.

Metro supports Accumulate, a youth charity empowering homeless people through creativity,  by collaborating in photography workshops.

Sponsoring First Women by printing exhibition materials for the First Women Project. The partnership was formed after Metro featured the project in 2014 following a creative consultation to review the First Women Portfolio.

Metro Imaging is collaborating with Lenscloud, a Fine Art Photography platform that aims to democratise art investment for emerging and established collectors, creating useful content in Fine Art Printing and trends in the market.

Lenscloud wants to help fine-art photography enthusiasts build: a timeless, ever-growing, personal collection fuelled by a user’s own rapidly expanding awareness into the practices for smart and savvy art investing as well as a refinement of their own tastes and profile as a collector.

The functional platform realises the three goals of learning, collecting and investing through its gallery feature, info-based sections, and facilitating art purchases through e-commerce. This allows fine-art enthusiasts to view and create collections, build knowledge and expertise in the fine art photography scene and purchase directly on the platform.

As a self-styled ‘source’ for art discovery and investing, Lenscloud works directly with artists, archives and foundations, which gives users the assurance that pieces they purchase have a guarantee of authenticity.

For now, in a world of digital reproduction and unverified opinions, this bid to authenticity is at the ‘heart’ of art. Says the brains behind Lenscloud, founder Laurent Cottier, a personal collection − from the choice of pieces to the very placement of them − is as unique to the collector as a thumbprint, expressing their own eye for design, movement, spatial flow and, most of all, meaning.

For art to make meaning and impact a physical space in the digital age, Cottier is re-imagining the structure of online galleries and the function of e-commerce. Lenscloud offers users a one-stop hub for art.

Interested collectors can easily sign-up and create an account to begin browsing and engaging with Lenscloud’s active community of like-minded investors, collectors and, above all, lovers of art.

Enter Lenscloud, a just-launched digital home for art, where emerging and established artists come together with budding culture-lovers, burgeoning collectors and would-be investors in fine-art photography.

 

Website: lenscloud.net

Facebook: @Lenscloud.net

Instagram: @Lenscloud_net