A new major exhibition London Nights opens at the Museum of London this month, in which the diversity of the city of London after dark is explored, through both contemporary and historic imagery, ranging from the late 19th century to the present day.

Split into three sections the exhibition focuses on London Illuminated, which showcases the variety of ways in which photographers have been inspired by and captured the aesthetic of the city at night, depicting London illuminated by limited natural and artificial light in contrast to the familiar daytime.

Dark Matters explores the mysterious, unknown and potentially uncomfortable – the darker side of the city. In this section, visitors will be immersed in imagery relating to night-walking, the blackout of the Blitz, isolation, threat, and vulnerability.

The final section Switch On…Switch Off…focuses on Londoners at work, rest and play in the city after dark. From the familiar commute home, the quick change of pace as office workers head out for the night or as workers commence their night shift

The diverse exhibition features immersive film plus over 200 images from more than 50 artists, including lesser known and emerging photographers to the more established and recognised Bill Brandt, Alvin Langdon Coburn and Rut Blees Luxemburg.

Metro is delighted to have been involved, producing C-type and Black & White fibre prints and scanning images for photographers who have work featured in the exhibition: Will Eckersley’s 2011 series ‘Dark City’, images from the late Tish Murtha’s 1983 project, ‘London By Night’ and Marc Vallée’s 2016 project, ‘Vandals in the City’.

There will also be a range of programmed events happening at the museum in relation to the exhibition including evening, weekday and weekend workshops and events. Further information can be found here.


Museum of London, 150 London Wall, London EC2Y 5HN

Exhibition dates: 11th May – 11th November 2018

Opening times: 10:00am – 6:00pm (galleries close at 5.40pm)

Admission starts at £10.  Book here.


Image 1 © Marc Vallée

Image 2 © Tish Murtha


The opening of a new exhibition takes place later this month; Devotion – A Portrait of Loretta is the latest exhibition from photographer Franklyn Rodgers in which he pays homage to a figure sacred in his life: his mother, Loretta.

Created over several years, the collection of images features Loretta and the circle of friends important to her. The detailed portraits draw attention to the significance of the close-knit relationships between these individuals and investigate what it means to look into the human face.

Drawing inspiration from the work of French philosopher Emmanuel Levinas, who claimed that our individual obligations and morality are found in the recognition of the suffering and mortality of others, Rodgers collection of images shows this in an act of devotion to his mother and the intimate familial moments of love, care, tenderness and affection in these relationships displayed.

Metro is delighted to be supporting Rodgers who utilised our Bespoke Service for the production and mounting of the C type prints for the exhibition.


Autograph ABP, Rivington Place, London, EC2A 3BA

Opening night: Thursday 26th April 6.30 – 8.30PM

Exhibition dates: 27 April – 7 July 2018

Gallery opening times: Tues, Wed and Fri: 11:00am – 6:00pm;

Thurs: 11:00am – 9:00pm; Sat: 12:00 – 6:00pm; Closed Sunday

Images © Franklyn Rodgers

  1. Mrs Loretta Rodgers – Crown, 2013
  2. Mrs Loretta Rodgers, 31 January 2006
  3. Myra German, July 2017
  4. Iris Simms, 2013

Metro is thrilled to support South-African born, London-based artist Tamsin Relly for her part in a recent project for Hospital Rooms – an arts and mental health charity that commissions world class artists to transform locked and secure wards with museum quality and compliant artwork. This latest project is for Eileen Skellern 1, a psychiatric intensive care unit for women at Maudsley Hospital, South London.

World class artists including Julian Opie, Aimee Mullins, Paresha Amin, Nengi Omuku, Tim A Shaw, Harold Offeh and Tamsin Relly were invited to work in genuine partnership with patients and clinicians to co-produce museum quality and NHS compliant artworks for the unit, with the aim to radically transform the physical environment on the unit making it more conducive to recovery.

Tamsin works across a range of media – including painting, printmaking and drawing and the final piece for this project was created using Metro’s direct to media printer. After visiting the ward on a number of occasions Tamsin invited staff and service users to paint or draw their earliest memories of being in nature during creative arts workshops

In response, Tamsin designed the space recreating qualities of being immersed in a botanical environment. She created a vibrant jungle layered with vivid blooms that is placed on a hand painted backdrop of softened shapes in quieter tones. The mood varies within the work, offering different spaces to rest or dream in. While the sitting area leads onto the courtyard in the unit, access to nature is limited for patients.

“My hope was to draw on the restorative and meditative qualities of spending time surrounded by plants and nature and to try and bring feelings of the outdoors in – the seasons, the elements, life alive in the cycles of growth and expansion or rest and turning inwards” Tamsin explained.

With the assistance of Metro, Tamsin has also produced this work as a limited edition run of 25 unframed, Giclée prints. Proceeds from the sale of the prints will be donated exclusively to Hospital Rooms for their most urgent upcoming projects  – for more information about how to purchase the print click here.

Griffin Gallery, 21 Evesham Street, London, W11 4AJ

Private view: 25 April 2018, 6:00pm – 8:30pm RSVP here 

Viewing: 26 – 27 April, 10:00am – 5:00pm

Images ©

  1. Tamsin Relly, Testing ideas for ES1, 2017

  2. Tamsin Relly, Pink Shadow,  2017

  3. Tamsin Relly, Pink Shadow, Hospital Communal Lounge ES1, Courtesy of Hospital Rooms

  4. Nengi Omuku, Family Room ES1, Courtesy of Hospital Rooms

  5. Julian Opie, 4 Pigeons, Corridor ES1, Courtesy of Hospital Rooms

Professional-quality, medium-speed, daylight-type color reversal film with ultrafine grain, designed to provide medium color saturation and contrast. Suited to a wide range of applications, such as product, landscape, nature and fashion photography as well as portraiture. Suitable for all types of subject matter, along with minimal variation in performance even in long exposures and the ability to be push-processed up to +2 stops with excellent results.
Available formats: 35mm, 120 and 5×4

Metro is delighted to be supporting The Great British Seaside, a new exhibition which opens this week at the National Maritime Museum (NMM). It explores our changing relationship with the seaside over the last six decades and celebrates the ambiguities and absurdities of seaside life from abandoned piers to the dazzling arcades.

Documenting a quintessentially British experience the exhibition features over 100 images from the 1960s to the present day by four of Britain’s most celebrated photographers,  Tony Ray-Jones, David Hurn,  Simon Roberts and Martin Parr. Metro has produced bespoke frames for the images on show as well as C-type and black and white fibre prints.

Each photographer brings their own individuality to the exhibition which includes images from the archival collections of each photographer, plus previously unseen films and 20 new works by Martin Parr, commissioned by the NMM and shot in the summer of 2017.  The new images focus on the thriving and diverse resorts of London’s ‘local beaches’, including Southend-on-Sea, Shoeburyness, Leigh-on-Sea, Frinton-on-Sea, Clacton-on-Sea and Walton-on-the-Naze.

Through recurring themes of place, tradition and class, this fun and fascinating exhibition holds up a critical, yet affectionate and often humorous mirror to a great British tradition and features beaches from Brighton to Blackpool capturing the traditions, customs and eccentricities associated with them.


National Maritime Museum, Greenwich, London

Exhibition dates: 23rd March–30th September 2018

Opening times: 10:00am – 5:00pm daily

Entrance fee: Adult: £10.35 | Child: £4.50 | Concession: £9.45

For more information about the exhibition


  1. GB.England, Dorset, From West Bay.-1996 © Martin Parr – Magnum Photos
  2. GB.England. Herne Bay, Kent. 1963 © David Hurn – Magnum Photos
  3. Eastbourne, East Sussex c 1968 © Tony Ray-Jones – National Science and Media Museum
  4. Blackpool Promenade, Lancashire. 2008 © Simon Roberts. Courtesy Flowers Gallery, London
  5. Whistling Sand, Pothoer, Aberdaron 2004 © David Hurn – Magnum Photos





The first UK exhibition of Mark Neville’s Battle Against Stigma project opens at QUAD Museum, Derby this spring and aims to address issues of mental health problems in the military.

Working at the intersection of art and documentary Mark Neville investigates the social function of photography. Often working with closely knit communities, in a collaborative process intended to be of practical benefit to the subject, his photographic projects to date have frequently made the people he portrays the primary audience or beneficiary of the work.

The Battle Against Stigma exhibition features photographs, films, emails, and copies of a book, also titled Battle Against Stigma, which recounts the personal experience when Neville was sent out to Helmand in 2011 as an official war artist. The exhibition, which features photographic prints produced by Metro, is intended to give some insight into the issue of adjustment disorder and PTSD which he suffered from on his return to the UK.

The dual volume book – Battle Against Stigma, co-authored by Neville and veteran mental health expert Jamie Hacker Hughes, includes the re-telling of Neville’s own personal experience from Helmand in 2011 and the troubles he suffered upon his return, and the written testimonies about PTSD and adjustment disorder from serving and ex-serving soldiers.

Throughout 2015, Neville distributed free copies of the books to Defence Mental Health Services, prison libraries, homeless veterans, probation services, and veteran mental health charities. In an essay he wrote about his PTSD for The Independent News Review magazine in 2015, he encouraged veterans to contact him. The response was a staggering 1,000 emails sent from veterans, families and friends, organisations (as well as non-veterans) sharing their experiences of these conditions and requesting copies of the book. A selection of these emails is included in the exhibition

Together this mass of documentation constitutes a major new insight into the experiences of those suffering from mental illness following service in modern warfare. Neville’s presents his own experience of war-related trauma, along with others’ in order to empower other sufferers to speak out.

During the exhibition, Neville and former RAF Sergeant Sammy Sturgess will also be hosting a day-long event at QUAD in which veterans are invited to contribute to a collection of oral history accounts of PTSD and adjustment disorders collated from former British service personnel and their support networks. The aim of the event is to encourage a cultural shift in the amongst the UK population, MOD and government that will remove the stigma of talking about mental military health, Neville will create manifesto of improvements that can be implemented by the MoD, based on empirical evidence collated from veterans and their support networks, which will invoke progress in the development of better provision for the prevention of war-related mental health conditions within the military.

The Battle Against Stigma exhibition will connect with veterans, artists, academics, charities and policy makers in order unite the different sectors of society necessary to drive the campaign for improved mental health care for service personnel.


QUAD Musuem, Cathedral Quarter, Market Place, Derby DE1 3AS

Exhibition dates: Friday 30th March – Sunday 24th June 2018.

Opening times: Monday to Saturday 11:00am to 5:00pm, Sundays 12 noon to 5:00pm

Admission to the exhibition is free.

For more information about the exhibition

Images © Mark Neville

  1. Firing Range, 2010
  2. Displaced children of the Choir at Kyiv Pechersk Lavra Orthodox Church (Moscow Patriarchate)’, 2017
  3. Kristina in Luganke, Eastern Ukraine, an hour after the shelling, 3
  4. Tatiana and her family at a ‘Father’s House’ Rehabilitation Centre for Women and Children in Sviatopetrivske, Kyiv region, 2017, Mark Neville.jpg

Did you know we offer Gift Vouchers here at Metro Imaging for all our Bespoke Services?

Perfect for a few rolls of film, producing a printed portfolio or finally getting that special image printed and framed.

Pick up one for the photographer in your life (even if that is you) by getting in touch with our friendly team or popping into our Clerkenwell lab.

Happy Printing!



Continuing our coverage of the Free Range Solo Exhibitions 2018 we were delighted to get the opportunity to catch up with the Manny Melotra and Alexander Mourant who were both awarded the Free Range Award at the Graduate shows last year. Metro provided both winners with annual mentorships and support in the lead up to their exhibitions plus £1000 credit for services at our lab.

The solo exhibitions open at the Truman Brewery on 1st February, here we talk to Manny Melotra about his project ‘The Broadway’.

1. Firstly congratulations on winning one of the Free Range awards last summer, can you describe what it meant to receive the award?

It’s an incredible honour receiving the Free Range award. To me it means I am progressing in my passion and in my work in the right way, it allowed me to believe there is more potential in myself with photography and my documentary work for which I am truly blessed to have won it.

2. Tell us about the body of work “The Broadway” which you will be exhibiting at The Truman Brewery?

‘The Broadway’ is an exploration of diaspora communities living together in Southall, West London.

The question behind the project is “Can you recreate a sense of ‘home’, when ‘home’ is being shared by people from various parts of the world wanting to do the same?”

The Broadway captures themes of migration, alienation, religion, community and austerity. The series takes you into a world full of enigma, as people from various cultural and religious backgrounds find themselves living side-by-side in a space with its own challenges.

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

Since picking up a camera I have always been curious about how people interact with their surroundings, fascinated with how the environment can shape an individual. I believe a person’s or people’s perspective on politics, attitude, fashion and lifestyle is always influenced by the conditions they are subjected to.

By taking pictures of these subjects, predominantly candid street photographs, it allows me to observe, reflect and find clarity in these situations. I have always been inspired by issues that affect me in some way or another because that trigger of emotion gives me the drive to pursue its meaning. I’m always being inspired by a variety of different artists and art forms but regarding documentary photography the works of Bruce Davidson, Steve McCurry and Don McCullin are a few of my favourites.

4. You’ve been working closely with the Metro team in the run up to your show, how have you found the production process?

The process has been simple and professional with the Metro team. I’ve learned a lot working with Manish on the editing and printing stage of my project, not only did he help bring out the finer details in my prints but also taught me some valuable tips that are crucial for the printing process. My mentors Steve Macleod and Kate O Neill have been amazing, they have been constantly motivating and helpful throughout the entire process, helping me by critiquing my work and building more confidence in my ideas with my project and in within myself as a photographer that will stick with me. I’m extremely grateful for having the opportunity to work with Metro and hope to continue to work with them again soon.

5. Will any of the prints be available to buy?

Yes, prints will be available to purchase at the exhibition and online through my website

6. You are also co-hosting a take over of the Metro Instagram account with Alexander Mourant during the week of the exhibition – how are you feeling about this?

I’m excited to be taking over the Metro Instagram story during the week of the show and really looking forward to showing some of the behind the scenes work of the set-up stages for the exhibition.

7. We know photographers always have one eye on their next project, what’s next for you?

I have already started work on my next project that is very personal to me; I am going to keep it private for now but will begin to show more about it soon in the coming months. You will be able to catch my current works on my Instagram account.


Exhibition details:

The Old Truman Brewery, Unit 11, Dray Walk, London

Private View: Thursday 1st February | 6:00pm-10:00pm

Friday 2nd – Monday 5th February | 10:00am – 7:00pm

Admission to the exhibition is free


Images © Manny Melotra





Last year the Free Range Graduate shows provided a platform for thousands of students to showcase their emerging creative works and celebrate new talent. Supported by Metro Imaging, the show also awarded two photographers Alexander Mourant and Manny Melotra both an FR Award for Photography –  both photographers won the opportunity to exhibit a solo show in London in 2018.

This February sees the resulting exhibitions open at the Truman Brewery: ‘Aomori’ by Alexander Mourant and ‘The Broadway’ by Manny Melotra.

Metro awarded both winners with an annual mentorship and personal support in the lead up to their exhibitions, plus £1000 credit for services at our lab. We caught up with Alexander for a quick chat prior to the opening of the shows.

Watch this space for Manny Melotra’s interview which is coming soon…

Alexander Mourant – Aomori

Can you tell us about your body of work Aomori, which is being exhibited at The Truman Brewery? 

I am showing previously unseen work, photographed in Japan, titled Aomori. I became greatly interested in how we invest ourselves into the medium, with our hearts and minds. I wanted to see if I could expand the possibilities of the photograph by giving it a body too, a soul almost, in which we could experience from the image itself.

Through Aomori, I chose to take a few ideas found in my previous work, refine them, and create a new body of work which directly expanded these metaphorical territories. I sought a location of infinite scale and depth to help activate my photographs. Continuing along the vein of organics and humidity, acting as psychological stimulants, I became interested in exploring the philosophy of the forest.

A notable development in Aomori is employing one singular colour. My interest was drawn, with an almost overpowering urge, towards the colour blue. For me, the immensity found in the colour blue, encourages a deeper reflection on our past, present and future. In the same way, the presence of the forest and the density of its nature, arrests for us, the relentless progression of time.

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

My inspiration is often non-photographic. Before travelling to Japan, I read books on metaphysics by Gaston Bachelard, Rebecca Solnit, John Berger and philosopher Martin Heidegger. Through my research, I became interested in Haruki Murakami, a prolific Japanese author, whose storylines fed perfectly into my own work. Artistically, my influence is varied, but I would definitely mention John Gossage, Hokusai and Lothar Baumgarten. However, there was no higher influence than the great Yves Klein.

Experimentally, I sourced blue glass from a church window, which was then cut to size to fit the filter holder of my camera. I wished to truly introduce this colour into my process, by exposing my film directly to the blue world. Glass, which is normally a material of separation, is employed directly in my process to unite both medium and idea. These photographs bring Solnit’s blue of distance near, into the world of the forest; they are by process, forever blue.

Before departing for Japan, I conducted digital tests with my blue glass. This technically helped gauge my ideal exposure time. However, it didn’t tell of how the process would translate to film. Also, whilst travelling, I was continually experiencing varying weather conditions which resulted in inconsistent photographs. I am normally accustomed to shooting in a particularly way. As it turns out, shooting the world of blue is ironically more akin to shooting black and white. Bright sunlight is of the utmost importance.

You’ve been working closely with the Metro team in the run up to your show, how have you found the production process?

Through my mentorship with Metro Imaging, I have gained access to their expertise on all aspects of my exhibition. Technically, with Metro Imaging, I have expanded my skills with analogue film scanning, explored alternative printing processes and exhibition production. I found the team to be extremely passionate and keen to help produce the best results from my work. They have been essential to the transition from student to working artist.

We know photographers always have one eye on their next project, what’s next for you?

 Good question. I have been so focused on the exhibition that I’ve yet to form a concrete plan. I am very interested in continuing to push the boundaries of my practice and undertaking residencies would create an exciting space to do so.

Will any of the prints be available to buy?

Of course! I am delighted to have received further funding for the exhibition from Arts Council England and ArtHouse Jersey. This has enabled me to produce a dynamic and visually stimulating show. Through using different scales, the show will have a natural rhythm, something which I feel will help my audience become calm and really engage with the photographs.

The work presented are all in small editions, printed on archival Giclée paper and framed in a pure white box frame. Ideal for young and established collectors.

Exhibition details:

The Old Truman Brewery, Unit 11, Dray Walk, London,  | Tel: 0207 113 7592

Private View: Thursday 1st February | 6:00-10:00pm

Friday 2nd – Monday 5th February | 10:00am – 7:00pm

Admission to the exhibition is free

Images © Alexander Mourant

AOMORI exhibition is supported by Free Range, Metro Imaging, ArtHouse Jersey and uses public funding by the National Lottery through Arts Council England.

British Photographer Simon Roberts is renowned for his images of events and places across Britain that have drawn people together in public, reflecting on the nature of our shared histories and communal experiences.

Metro is delighted to have produced a selection of matt Lightjet prints for his upcoming exhibition ‘Merrie Albion – Landscape Studies of a Small Island’ which opened at the Flowers Gallery this month. It brings together some of his iconic images along with many previously unpublished photographs.

Creating a view of contemporary society that is far from straightforward, Roberts critically conflates the traditional genre of landscape with social documentary, layering ideas of national character through relationships to both place and particular moments in time.

The exhibition showcases a variety of Robert’s work from single images from around the time of his major photographic project ‘We English’, to his work as the official artist of the 2010 General Election as well as his series ‘National Property: The Picturesque Imperfect’.

Dewi Lewis Publishing have published a new book entitled ‘Merrie Albion’ to accompany this exhibition.

Exhibition details: 

Flowers Gallery, 82 Kingsland Road, London E2 8DP

Dates: 19th January – 10th March 2018; Private View Thursday 18 January, 6:00pm-8:00pm

Opening hours: Tuesday – Saturday 10:00am – 6:00pm

Images © Simon Roberts, courtesy of Flowers Gallery London and New York

  1. Broadstairs Dickens Festival, Isle of Thanet, 19 June 2008
  2. Eid al-Fitr Celebrations, Jamia Mosque, Green Street, Bristol, 8 August 2013
  3. Battle of Britain Memorial Flight, Shoreham Air Show, West Sussex, 15 September 2007 
  4. National Campaign Against Fees and Cuts, Parliament Square, London, 9 December 2010  



An exhibition in support of Great Ormond Street Hospital

Metro is delighted to be supporting Scott Mead, a London-based American photographer and philanthropist producing Fujiflex C-Type prints for his upcoming exhibition Above The Clouds, which opens at Hamiltons this month.

Above the Clouds is a portfolio of images taken on regularly scheduled flights over several years, when during these journeys, Mead has been inspired as he gazed out the window at the endless horizon, finding that the journey itself can be more meaningful than just a means to a destination.

Mead’s photographic career can be seen as an expression of a deeply-lived life of exploration, reflection and discovery. In this most recent body of work Mead captures the physical, emotional and philosophical wonder of air travel with his images of the world above the clouds.

Much time and research was involved for Mead to learn how to best capture images that fully reflected the outer and inner journey. Analysing flight paths, the angle of the sun, the curvature of the earth, the windows and the speed of light, among other factors, Mead gradually began to develop an intuition as to what might come next throughout the journey.

All profits from print sales and a book of the same title, which has been published to accompany the series and exhibition, are donated to Great Ormond Street Children’s Charity in London, where one of Mead’s children was cured of a life-threatening illness many years ago. Since then Mead has been a deeply involved supporter of the hospital.


Hamiltons, 13 Carlos Place, London, W1K 2EU

Exhibition dates: 9th – 19th January 2018

Opening times: Monday – Friday  10am – 6pm; Saturday  11am – 4pm

Follow Scott Mead on Instagram & twitter


Images © Scott Mead

1. JFK–LHR 11/10/2015, 08:14:20, Pastel Morning, New York Departure

2. LIM–CUZ 8/10/2016, 23:01:32, The Andes fading into misty sunset

3. JFK–LHR 31/10/2016, 11:32:05, Clouds over Massachusetts















‘Long Live the Boleyn’ is a new exhibition by London based photographer Freddie Bonfanti which opens in Hackney, East London this December

As a West Ham supporter and season ticket holder, Freddie was inspired to start documenting the match-day routine inside and outside The Boleyn, otherwise known as Upton Park, West Ham’s home of 112 years, in the club’s final year before moving to the Olympic Park ground.

The project was a labour of love for Freddie, self-described as “from a fan, for the fans” with very personal results and a fan-led approach to match day photography; from the iconic black and white view of the ground, taken from Freddie’s seat in the Bobby Moore Lower after the Liverpool match in the FA Cup 2015/16 season, to the patches of grass on nearby estates, the local boozers and the intimate photographs to which football fans up and down the country can relate.

Metro are delighted to support Freddie, producing framed vinyl and digital fibre black and white prints for the exhibition which features images from his 100-page photo book of the same name.

In an era of crumbling stadiums and new homes, many creative fans are exploring new ways to document their personal experiences and creative output and ‘Long Live the Boleyn’ is a collective and individual immortalisation of what shouldn’t be forgotten – a trip down to memory lane.

To purchase the book ‘Long Live the Boleyn’,

Freddie will be donating 20% of all print sales to the Dylan Tombides Foundation



Stour Space, 7 Roach Rd, London E3 2PA

Exhibition dates:

Opening night: 7th December 2017,  7:00pm-10:00pm

9th – 23rd December 2017: 9:00am – 5:00pm

Admission to the exhibition is free



Images © Freddie Bonfanti

Metro is delighted to support Spanish born photographer Alex Franco, producing C-Type prints for his upcoming exhibition “Remember Me When I’m Gone”.

Best known for his fashion imagery in magazines such as Vogue, Vogue Homme and V Magazine “Remember Me When I’m Gone” is a personal cultural and social project for which Alex travelled to Calais several times to document The Jungle, a refugee and migrant encampment in the vicinity of Calais, France, in use from January 2015 to October 2016.

Visiting The Jungle over the course of eighteen months, Alex’s intention was to explore the context of displacement, led by a curiosity and concern that stem from a personal connection, a strong theme within Alex’s work. Learning of immigrants who had travelled from Morocco to Spain in the last few decades and their constantly compromised status, safety and human rights result in Alex’s handwritten personal account of those to whom The Jungle was home.

The media have documented the scenes of shabby temporary constructions of these impermanent homes; places of refuge for those who have fled their own homes in countries far away, and have upon arrival been displaced once again, to the outskirts, to the margins of our system. The interest in the problem seems to have vanished as we delude ourselves that the problem no longer exists once the structure has been dis- mantled.

This exhibition strives to shine a light on a problem that remains unresolved.

Exhibition details:

1st & 2nd December ’17: Crea Centre Polivalent, Carrer Ros de Olano, 20 Vila De Gracia, Barcelona

5th & 6th December ’17: Unit 10 Huntingdon Estate, Ebor St, London E1 6AW

Follow Alex Franco on Instagram

Images © Alex Franco

As one of the sponsors of Portrait Salon ’17 we were delighted to attend a one-off exhibition featuring a selection of portraits displayed at an outdoor location in London Fields, before it takes up a longer-term exhibition at Ravensbourne.

The 46 portraits on show were printed onto plywood using Metro’s Direct to Media printer and chosen from hundreds submitted for the exhibition by this year’s selector, artist Julie Cockburn.

Julie said of the selection process, “As an artist who looks at, and works with portraits everyday, I thought that selecting from the submissions to Portrait Salon would be a straight forward process, but it was one of the hardest things I have done, testing me, educating me and touching me in ways I had not expected. There was something compelling about each photo, each person depicted, but I found myself drawn to particular things. I am not a photographer, but I consider myself an image-maker, and composition is integral to my practice, especially when working on a found image. There were powerful images that didn’t make my final selection, perhaps with strong composition or skilled lighting, but I chose ultimately those pictures that introduced me to someone I would be intrigued to meet”.

Portrait Salon was founded by Carole Evans and James O Jenkins to celebrate images submitted to, and rejected by, the Taylor Wessing National Portrait Gallery Photographic Portrait Prize.

The Portrait Salon ’17 exhibition continues in The Atrium at Ravensbourne from 23rd November until 7th December 2017


  1. © James Perolls
  2. © Dave Imms
  3. © Dean Belcher
  4. © Kate O’Neill
  5. Portrait Salon 17 Poster © Kate O’Neill
  6. Direct to Media Printer © Kate O’Neill

Metro worked with performing artist Heather Agyepong recently producing C-type prints for her project ‘But We Are Still Here’ which takes place at the Tate Modern this month.

But We Are Still Here provokes thought, questions and through a series of events and activities considers how culture is produced. Onlookers and participants are invited to voice ideas and experiences and to listen to others whilst considering how culture is (re) produced through our everyday behaviours and activities.

Difficult questions are asked in order to provoke debate, reflection, comment and action and what it might feel like to be visible/invisible, sharing responses in the space, exchange ideas and share experiences as well as participating in a diverse range of activities from zine making to poetry, performance to workshops.

The conversation unfolding on the Tate Exchange floor is framed by a series of photographs by Heather Agyepong to create a thought-provoking installation. Reimagined as Ghanaian Ashanti Warrior Yaa Asantewaa, Agyepong appears in a series of images that raise questions of value, ownership and erasure.

For more information and detail about the exhibition and events

Exhibition dates: 16th – 26th November 2017

Opening times: Thursday–Sunday: 12.00pm–6.00pm

Tate Exchange, Level 5, Bankside, London, SE1 9TG

Images © Heather Agyepong Yaa 2017 (detail)

On the Heights is an exhibition showcasing new work from Miriam Austin, Sam Belinfante, Tom Lovelace and Frances Scott, four artists who were invited to spend two weeks living and working at Yorkshire Sculpture Park (YSP) in April 2017.

It explores the history, stories and landscape of the area, presenting a new dialogue between nature and experimental contemporary art practice for visitors to explore whilst extending YSP’s history of building relationships with and supporting young and emerging artists through the visiting artist programme.

Metro worked with Tom Lovelace producing C-Type prints for part of his installation which sensitively considers the extraordinary setting of YSP.  Considering slippages in the manipulated landscape, Tom’s work prompts moments of uncertainty and doubt across various locations in the Park.

. The Park’s Upper Lake is the site of a large sculptural work, partnered by another sculptural piece in the Formal Garden pond and a series of photographic, assemblage works in the Bothy Gallery.

Tom also presents a new performance work that takes the visitor on an alternative tour of the Park, in which stories and anecdotes about YSP’s history and landscape are presented, but cannot necessarily be trusted.

Exhibition dates: 28th Oct –3rd Dec 2017

The exhibition takes place in the Bothy and in the open park

Yorkshire Sculpture Park
West Bretton
Wakefield WF4 4LG

Images © Tom Lovelace

British photographer and filmmaker Lynda Laird worked with Metro recently using our Direct to Media printer to print images directly onto silk for her installation in the Planche(s) 2017 Festival. Now in its eighth year, this photography festival presents the works of a variety of photographers invited to spend a residency in Deauville, France.

The inspiration for Lynda’s installation was taken from the events that commenced on 6th June 1944, when allied forces launched the biggest amphibious military attack in history, known as the D-Day Landings. Codenamed ‘Operation Overlord’ the landings marked the start of a long and costly campaign to liberate north-west Europe from German occupation, it was the beginning of the end of WW2.

Lynda’s photographs were taken in and around the coastal bunkers that formed part of the Atlantic wall along the Normandy coast from Utah beach to Deauville.

Lynda explains, “In part, I used infrared film – created by the military in WW2 to detect camouflage and expose a visual spectrum that’s invisible to the naked eye.  Silk and Japanese mulberry paper forms part of this installation, both were important technologies specific to WW2; escape maps were printed on to silks and stitched inside officers uniforms, mulberry paper was used for this purpose as well as for creating balloon bombs.”

Also included in her installation is a video shot in the sea of the D-Day beaches at the exact time of the landings. The words spoken in this video are a diary entry from 6th June 1944, by Odette Brefort who lived in Deauville during the German Occupation and throughout WW2. As a member of the French Resistance she provided military intelligence on the German defences by drawing intricate and beautiful maps to send to her comrades in Paris.

Odette’s diary translation:

Oh, what a night! My little head is all shell-shocked. 

Since midnight it’s been impossible to sleep: the humming from planes, the anti-aircraft bombs, the machine gun noise.

I went downstairs because I couldn’t sleep and after 15 minutes it went quiet. Thinking it would be better, I went back to bed. What a mistake!

All night, the humming from planes, it was non-stop.

What a joy when waking this morning, someone announces there was a landing at Dives.

At 8.20am a bomb falls on the Printemps store, another one on the Normandy.

By rule we don’t have the right to leave Deauville, or to ride our bicycles.

The weather remained foggy until midday, the sun shone from 4pm. It must be the English who brought the clouds! The defence volunteers will be able to move freely tonight.

Around 6pm, what a tremendous bang! It is the Mont Canisy.  The English navy must have blown up a large artillery battery that was shooting at them. It had been deafening us since this morning.  I think the shot hit the target, as we can’t hear a thing anymore. 

What on earth will happen to us when the Navy and Air Force take care of our region?

There is no electricity.  Deauville is in the dark.

Odette Brefort, 6 June 1944.

La Planche(s) 2017 runs from October 21st to November 26th, 2017

Images © Lynda Laird

Flying Trees and Sunken Gardens is the fifth in the changing foyer displays at the iconic Barbican Centre, London. It explores the history behind the creation and design of the open spaces, gardens, and conservatory that are found across the Barbican Estate and Arts Centre.


The site where the exhibition stands was, for over a decade (1940–1956), a devastated post-war site, a wild landscape. As the debate on the urban role of open space raged on, the weeds gently but effectively regenerated the City from its ashes. A monumental landscape emerged, combining low and high rise buildings and spaces, creating an enclosed, urban fabric within the City.


Metro is thrilled to have produced Giclée, C-Type matt and black and white resin prints for this extensive installation which is broken into three sections; references from continental Europe and inspiration from the English garden are brought to light from a selection of books from founding CP&B partner Geoffrey Powell. Archival drawings and illustrations convey the interweaving of artifice and nature and at the centre, historical drawings of the Conservatory and newly commissioned botanical photography celebrate the glass and steel design of this hidden garden.

Exhibition dates: present until 20th March 2018

Barbican Centre
Silk Street, London

Images ©

1, 2 & 3. Rhiannon Stanford

4. Courtesy RIBA

5. P. W Hall, c. 1970’s perspective of conservatory. Courtesy RIBA

An Exhibition of Oil Paintings, Photographs and Mixed Media

Metro is thrilled to be supporting an exhibition of figurative and abstract images of India, London and Italy in an exhibition presenting photographs produced by John Pheasant, oil paintings by Suchi Chidambaram and jointly produced mixed media works which beautifully combine a photographic image and an oil painting to create a single image.

Suchi and John produced the exciting and innovative mixed media works using a variety of surfaces: fine art paper, canvas and metallic bases like aluminium and Dibond. Using our Direct to Media printer John’s images were printed onto Dibond,  creating an opportunity to combine the two artists’ contrasting approaches, styles and techniques. The resultant dynamic draws the viewer into the image and challenges the imagination.

Suchi, a London based painter, born and raised in southern India is fascinated by perspectives. Her interpretations of urban landscapes are typically not painted in situ but from memory: fragments of visual data mingling with subjective, emotional responses.

John, a photographer with a particular interest in land, cityscapes and portraits, relishes the technical and artistic challenge of using only natural light often in testing conditions, to capture his experiences of the places he visits and the people he meets.


Nehru Centre, 8 South Audley Street, London, England, W1K 1HF

Exhibition dates:

23rd October 

from 6:15 pm

24th, 25th, 26th October: 

10:00am – 8:00pm (with wine, soft drinks and nibbles from 6:00pm)

Friday 27th October:

10:00am – 2:00pm

Suchi will be giving painting demonstrations using palette knife and John will be running photography workshops during the exhibition.

For information and times please email John or Suchi


Images ©

  1. Val d’Orcia – John Pheasant, Archival pigment print on Dibond, 40×26 inches
  2. Kolkata – John Pheasant, Archival pigment print on Dibond, 18×18 inches
  3. Mandu – Suchi Chidambaram & John Pheasant, Mixed Media on canvas, 20×30 inches
  4. San Giorgio – John Pheasant, Archival pigment print on Dibond, 40×26 inches
  5. Village Elder – John Pheasant, Archival pigment print on Dibond, 36×24 inches




The monthly Be Smart About Art talk series continues this month addressing creative and professional aspects of creating print editions from start to finish. Metro’s Creative Director, Professor Steve Macleod will be in conversation with Founder of Be Smart About Art, Susan Mumford for what will prove to be an informative and interesting talk followed by a Q & A Session.

Topics include:

Traditional printmaking vs Digital printing

Editioning: pros and cons, financial implications



An open floor Q & A session will follow the talk so be sure to come along ready to learn and with questions at the ready.


Date: Oct. 9, 2017, 6:30 p.m. – 8:30 p.m.

Location: Cass Art, Colebrook Row, London N1

Nearest Tube: Angel

Price: Early bird tickets half price! Full tickets £10-15
For full information about the evening and to book tickets



Photographer Siân Davey recently worked with our print and framing experts, using Metro’s premier bespoke service, to produce digital C type prints in walnut frames for her current exhibition “We Are Family” which is showing at the National Portrait Gallery in London until October 7th.

As a photographer with a previous 15-year career in psychotherapy, Siân Davey’s work often investigates the psychological landscapes of both herself and those around her – family and community are central to her practice.

We Are Family is no exception and her series of images portray the diversity and reality of British family life in 2017; photographs were taken over a month-long period across every region of the UK, from Devon to London, the Midlands and Yorkshire to Scotland’s Hebrides.

They examine the ways in which we form a family, how we rely on one, the responsibilities and sacrifices families entail, the unique, integral things they provide – and how such dynamics coalesce around food and mealtime, photographing thirty-one families of all shapes and sizes in twenty-one days.

Siân comments: “In Ancient Greece, scholars wrote on a palimpest – a piece of parchment used again and again. The word literally means ‘again rubbed smooth’. The parchment was never entirely cleaned, so traces of its history always remained, merging with the new.

“The place we share food – a grand dinner table, a sofa, a bed, or a rug on the floor – is a palimpsest. Countless memories, moments, thoughts and experiences have been exchanged here.

“Yet each of us are palimpsests too. We are the evidence of the generations before us, the culmination of everything up to this moment.

“Every time we come together, we play witness to that. We bring our history to the table. The photographs here are a celebration of diversity. But, more importantly, they are a celebration of love – of togetherness, no matter what.”

We Are Family showing at 

Print Shop Gallery, National Portrait Gallery, St Martin’s Place, London WC2H 0HE

Exhibition dates: 21st September – 7th October 2017

Opening times: Sunday – Wednesday: 10:00am – 6:00pm;  Thursday & Friday: 10:00am – 9:00pm

Images © Siân Davey


Metro combine Metro Imaging and Metroprint in one great new website!

Metro has been supporting Portrait Salon since its inception in 2011, as this year’s submission date looms we grabbed a few minutes to speak to co-founder Carole Evans to find out a little more about the background of this highly successful exhibition which was founded off the back of rejected works from National Portrait Gallery’s Taylor Wessing Photographic Portrait Prize, one of the most prestigious photography prizes in the world.

Q. What can we expect from this year’s Portrait Salon?

A. This year Portrait Salon will be exhibited outside, again in an aim to take photography away from the white walls of a gallery and make it accessible to all. Full details will be released very soon!

Q. Do you feel the addition of digital entries in the Taylor Wessing Portrait Prize entry system has affected the Portrait Salon entries?

A. It is too early to say – our submission deadline is not till the 11th September, so we won’t know how much it has been affected till then really.

Q. Has your original concept, inspiration or ultimate desire for Portrait Salon changed much since yourself and James O’Jenkins founded it in 2011?

A. The idea was to show more portraits than the ones chosen by Taylor Wessing, as we were sure there were some other great ones out there. This concept has not changed; this is till our aim. I think what has developed over the years is the method of curating the shows and displaying the work; we really enjoy experimenting with various outputs, and like the challenge of displaying photography in a very demographic way.

Q. What do you most enjoy or benefit from by working with Metro Imaging?

A. We love working with Metro! I think we benefit from the reputation Metro has within the photographic community; it’s great to be endorsed by an organisation as popular as Metro, while it also adds to our reach. We also like the way Metro embrace new ideas and really try and push the boundaries of printing and display; I think in this we are well matched!

Keep your eyes peeled, as we will be posting updates in the coming months. In the meantime important dates for your diary:

11th September 2017: Portrait Salon submission window closes

6th October 2017: Portrait Salon notifies photographers of selection decision

16th November 2017: Portrait Salon outdoor exhibition night.


Images © Portrait Salon 2016

1. Phil Sharp

2. Mark Richards

3. Annika Haas


Metro are delighted to support SELF, the second exhibition in a photographic series which examines identity, self image and disability and sets out to show the human face of social care – colourful, bright and engaging – in sharp contrast to the negative narrative of budget cuts and negligence so often portrayed in the media.

Fashion, lifestyle and portrait photographer Dean Belcher has worked alongside Jake Meyer, Certitude Community Development Manager after seeing the first SELF exhibition which took place in Brixton earlier this year.

Dean commented; “I wanted to be involved with this project because I see how social care is portrayed in the media – it feels good to offer up a different side to this story with these diverse portraits.”

The exhibition features 100 A3 Digital C-type images of individuals from Hounslow who are either connected with Certitude, an award winning social care provider supporting people with learning disabilities and mental health needs, or with activities offered by Age UK at Montague Hall.

Jake Meyer who developed the initial concept for the project explained; “First and foremost this is a show about community. Dean and I wanted the photographs to illustrate the extraordinary diversity of people living in Hounslow and put real faces to the concept of “social care”. The portraits tell us something about how people see themselves and the commonalities that we all share. We all have a face which we can be identified by, we all have insecurities and opinions of ourselves and both of these factors help us to relate to one another. The aim is to promote a sense of inclusion and belonging for everyone involved.”

As well as having their portraits taken, people who took part were asked how they would describe themselves and to divulge something about themselves that the viewer might not realise from their portrait. Some of these thought-provoking responses will be displayed in the exhibition as quotes on the walls.


Self – Portraits in Social Care: Montague Hall, 30 Montague Rd, Hounslow TW3 1LD

Exhibition dates: 15th – 28th September 2017

Opening times: 3:00pm – 5:00pm

For viewing outside these times please contact Certitude


Images © Dean Belcher

6 months on from their magazine launch we have a chat with Elena Cremona, Creator of The Earth Issue.

Q. The Earth Issue launched in January 2017 – can you provide us with a little background about its aim and your inspiration for starting the magazine?

A. It all started by trying to make sense of all the different aspects that we are born into. I’ve always found it hard to understand society and their constant preoccupation, obsession even, for needing and wanting material possessions, rather than appreciating the planet we inhabit. Humanity has shifted their definition of what it means to be a visitor on Mother Earth’s home. We are now driven by power, money and exploitation, where greed seems to be put above the wellbeing of our planet.

As a photographer, I find it important to use my work as a tool to awaken consciousness and create a sense of awareness and respect for our irreplaceable landscapes. To me, being able to create, is the most honest form of self-expression. It’s important to me to actively be part of a movement, and even be able to provide people with a platform, represented by visual artists and environmental activists who share a dedication to raising awareness for the beauty of nature.
Our need to challenge ourselves and our mindset, our need to ever inspire and harness the power of social change is what drove me to starting an environmentally creative magazine, and further more a platform for all to express a connection with nature.

Q. Earth Issue is presenting ‘The Breaking Point’ in July – what can we expect from the exhibition?

A. In our ‘The Breaking Point’ exhibition we are offering different approaches to confronting our role within nature. We are presenting the thin line between being consciously aware within our space and feeding our ego, instead of the self.

We are living in a society that’s very much based on outside approval and factors which feed the ego, rather than seeking growth through acceptance.
How can we engage in these grand environmental conversations when we still have so much trouble trying to identify with nature?

The Breaking Point is an immersive exhibition by artist’s Ram Vafa and Bertie Sampson. Their work comes together to create a spatial field of attraction and repulsion for the viewer. Each piece has a commanding presence by which the viewer must circumnavigate in order to engage with both artists work, but where their movement also becomes part of the piece.
Each work is representative of time, light and movement and aims to contribute to the greater discourse on our collective responsibility and place within nature and the natural world. Each artist’s exploration of the theme of mankind’s relationship to the greater self and the role he/she plays to help sustain and maintain a healthy world and environment, has resulted in these works, which are made over the course of this journey of self-reflection.

Q. Can you tell us a little bit about your own work?

A. My work is just a reflection on how I see the world. Wanting to be completely immersed within nature, remembering that we do actually have a choice in wanting to make a difference.
I photograph to understand better and to pour meaning into who I am. Each photograph of mine is as unique as the memory that inspired it.

Q. When and what inspired you to start working with Metro Imaging?

A. I met with Metro’s Kate O’Neill a couple of years ago to discuss a possible collaboration between The Old Girl’s Club and a group of us who had been wanting to put on a show about climate change in conjunction with COP21 (The Paris Climate Conference’s of 2015).

Our exhibition, YOU WILL END BY DESTROYING THE EARTH, was the first front of house exhibition shown at Metro Imaging.

What’s the next project in line for The Earth Issue?

We are currently working on, and accepting submissions for, our newest print Issue. The theme is Impact and we are looking for artists who use their creative work as a vehicle for environmental activism.

The Breaking Point, The Square Gallery, 9B Battersea Square, SW11 3RA

Opening night: 20th July 2017
6:30pm – 10:30pm RSVP

Exhibition dates: 21st July  – 3rd August 2017

Images © Rama Vafa x Bertie Sampson


The first of the Free Range Graduate shows have been taking place at the Old Truman Brewery over the past two weeks giving thousands of students the opportunity to showcase their emerging creative works, celebrating talent and providing a platform for UK artists beyond education.

Last year the FR Awards were introduced with winners selected weekly from their specific category exhibitions. Winners of the FR awards receive mentorship and funding towards solo exhibitions. As part of Metro’s continuing support of young talent our Creative Director Steve Macleod is involved in judging the photography categories and an annual Metro Imaging mentorship is provided as part of the FR prize.

The FR Award for Photography Week One at Free Range has been awarded to Alexander Mourant from Falmouth University. He receives a prize package including a solo exhibition in 2018 at the Truman Brewery as well as mentorship and support in the lead up, including Metro mentorship & exhibition printing.

We caught up with winner Alex and asked him how he felt about his award, “I was delighted to be chosen for the FR Award 2017, Photography Week One. It was great to hear of Metro’s enthusiasm towards the high attention to detail and mature presentation of my work. Moving forward, I am eager to push the boundaries of my practice with scale and well considered paper types. I am certain the experts at Metro will have invaluable knowledge in advising me throughout this process, with their guidance I’m greatly looking forward to producing an exciting and dynamic show.”

Watch this space as further award winners will be announced in the coming week.

Free Range Graduate shows continue until 17th July 2017

Old Truman Brewery, 91 Brick Lane, London E1 6QL

For more information about Free Range

Images © Alexander Mourant

  1. Blue Parrot, from the series Aurelian. 2016-2017
  2. Untitled XII, from the series Aurelian. 2016-2017
  3. Display dome with atmosphere, circa 1880. From the series Aurelian. 2016-2017
  4. Untitled VIII, from the series Aurelian. 2016-2017


The four winning photographers of the BJP Breakthrough Awards 2017 have been announced. The awards now in their third edition, offer students and recent graduates an opportunity to showcase their work and help to launch their careers.

Metro is the official print sponsor for the awards and we have printed and framed the winning images which will be exhibited as part of the Free Range Graduate Shows at The Old Truman Brewery in London this week.

The judging panel consisting of experts from the photography, art and publishing industries selected a Series Award and Single Image Award winner in each category as follows:

Graduate Series

Ryan James Caruthers won the Graduate Series award for his emotive series Tryouts, in which he explores the intersections between homosexuality, masculinity, identity, and athleticism.

Jocelyn Allen won the Graduate Single Image award for her image 21st April 2017 (Today’s Look), taken from her on-going series Don’t Take Me Out Of My Melons, which explores themes such as representation, anxiety, self-esteem, self-confidence, and hiding.

Undergraduate Series

Todd R Darling was awarded the Undergraduate Series award for his project Silk City, in which he turned his lens on Paterson, New Jersey, a place he says, is “close to my heart and home.” The project – “born out of a desire to explore my home and my youth” – is a survey of the area, which Darling describes as incredible, but forgotten.

Cathal Abberton received the Undergraduate Single Image award for his portrait of Leo during a trip to the remote Italian town of Riace, Southern Italy, earlier this year. It is from a wider series called Solo in Calabria about the people and landscapes of this picturesque part of Italy. Where many of the refugees and migrants who live there are just waiting, he says – for a job so they can earn money, or to move to another place – and so the project touches on this notion of ‘waiting’. 

For full information about the awards

Read about last year’s winner Simone Sapienza


BJP Breakthrough 2017 

Opening Night: Thursday 22 June 2017; 6:00pm-9:00pm

Shop 13, Old Truman Brewery, 15 Hanbury Street, London, E1 6QR



  1. Silk City – Todd Darling (Undergraduate Series)
  2. Leo – Cathal Abberton (Undergraduate Single Image)
  3. 21st April 2017 (Today’s Look) from Don’t Take Me Out Of My Melons – Jocelyn Allen (Graduate Single Image)
  4. Tryouts- Ryan James Caruthers (Graduate Series)


Last month saw the announcement and launch party of the LPA Futures bi-annual competition. The Lisa Pritchard Agency (LPA) is one of the country’s leading photographic agents and shoot producers and LPA Futures is a division established to support and promote the next generation of commercial photographers.  A panel of industry experts selected five emerging commercial photographers for LPA to represent over a two-year period.

This year LPA Futures received an unprecedented amount of entries of an exceptionally high standard from photographers from all over the country proving to be a very difficult task narrowing down more than 120 entries to just 5!

Along with their 2 year representation by LPA, the winners also receive a huge array of fantastic prizes from various sponsors including ourselves here at Metro Imaging, printing and mounting digital C-type matt prints of the winning images for the launch party which took place at LPA headquarters at Camden Park Studios.

LPA Futures 2017/19 winners:

Imogen Forte: her stunning, atmospheric and voyeuristic style captures beautiful moments in everyday life

Will Hartley: a distinctive gritty urban style derived from a childhood love of skateboarding

Steven Joyce: combining the two things he loves; food and photography and creating his mouthwatering portfolio.

Katrina Lawson-Johnston: her breathtaking eye for detail and a clean, polished and yet sumptuous style

River Thompson: a passion for photography which sits closely alongside his passion for exploring.


For more information about LPA Futures & their launch night


Managing Director

As the 1970s drew to a close I was all set to make it big in the cutthroat world of toffee apple production when I got the sack. So with my best mate from school I set up Metro. Back then it was just the two of us, Mike doing the Black & White printing and me as the courier (I still love racing my motorcycle). Nowadays my role is to drive the company forward; I’m always looking to take Metro in new directions, making sure we are always experimenting and evolving.

The strength of the Metro brand and what it stands for is very important to me; we are known for quality, service and innovation. However, we couldn’t have achieved this without giving everyone at Metro the opportunity to develop themselves and each other both professionally and creatively. Metro may be my baby, but everyone who works here is its uncle or auntie; it is this commitment and passion for the business that has helped us not only set the industry standard, but also maintain our reputation as an industry leader for over 25 years.

Professionally built bespoke lightboxes have long been a favourite of artists looking to appropriate the dramatic effect of an illuminated image but until recently lightboxes were restricted in size; light spread and weight by cumbersome florescent tubing that required deep profiles for cooling.

Now with the developments in energy efficient LED technology, light is available in sheets rather than tubes, creating new possibilities for lightbox size, weight, design and most importantly, colour-accuracy.

Joining forces with LED technologists, we have developed colour-accurate lightboxes that can be colour-balanced exactly to our Kodak Duratrans film material.

Metro Imaging are the only photographic printers in the UK offering colour accurate Kodak Duratrans prints up to 72” wide and our lightbox service enables our customers to create lightboxes up to this mural size.

At the top of the range are bespoke aluminium lightboxes, boasting the sophistication and understatement of hand-sprayed, powder-coated aluminium frames in virtually any size with a standard ultra slim 20mm profile.

The prices below are a guide to our Lightbox pricing. Final pricing by quotation

Image | Lightboxes produced for Mark Edwards for the ‘Monument’ WW1 Commemoration Project



0207 014 5026

I worked at Ceta in Soho for 22 years before moving to Metro in 2006. I thought a new company: a new challenge! When I’m not here I like keeping fit, especially running.

Steve Macleod

0207 014 5202

As a Director for Metro Imaging in London, I have been at the forefront of photographic imaging for over twenty five years, collaborating with a vast network of clients, and developing new and innovative photographic printing practices. More than slightly obsessed with process, I was awarded with a fellowship of the RSA for my commitment to the industry.

Described as a Photography polymath, I keep myself busy by curating; commissioning and lecturing in Photography both in the UK and abroad. I am Visiting Professor at UOS and have contributed to UAL Course validation for several years. I am a life member of Frontline Club and in 2013 I was invited to become a Trustee of The Queen Elizabeth Scholarship Trust in support of British craft.

I am a practicing artist, represented by Black Box Projects and my works are held in both private and public collections. As a pictorial landscape artist, I use large format and much of my work is formed around non-metric representation of the landscape and my subject centre on raising awareness of mental health and our relationship with our environment.

KODAK T-MAX 400 Professional Film is a continuous-tone panchromatic black-and-white negative film for general outdoor and indoor photography. 400 iso is especially useful for detailed subjects when you need maximum shutter speed.
Available formats:35mm, 120, 5×4

KODAK T-MAX 100 Professional Film is a continuous-tone panchromatic black-and-white negative film for general outdoor and indoor photography. It is especially useful for detailed subjects when you need maximum image quality.
Available formats: 35mm, 120, 5×4

The Kodak Portra 400 Colour Film / 120 is a colour negative film great for portraits, fashion and commercial shoots. The film delivers superb performance both on-location and in a studio setting. Advanced emulsion technology provides sharp imaging, beautiful neutral skin tones and a finer grain than ever, making for excellent scanned colour reproductions.
Available formats: 35mm, 120 and 5×4

The Kodak Portra 160 Colour Film / 120 is a colour negative film great for portraits, fashion and commercial shoots. The film delivers superb performance both on-location and in a studio setting. Advanced emulsion technology provides sharp imaging, beautiful neutral skin tones and a finer grain than ever, making for excellent scanned colour reproductions.
Available formats: 135mm, 120 and 5×4

We caught up with editorial Photographer Jenny Lewis and discussed her project for Doctors of The World as well as her entry for this years Taylor Wessing and Portrait Salon 2016. Her shortlisted portrait is currently on show at Metro’s front  of House Gallery in Clerkenwell…

The first step in colour management is to avoid dramatic lighting: keep it ambient in the room where you work. Don’t put your monitor in front of the window or other strong light sources and keep bright objects out of the field of view to avoid reflections on your screen.

Choose a nice neutral background patterns for your computer desktop. Ideally use a monitor hood to improve shading of the screen. The best, most accurate way of knowing if your screen is showing accurate colours is to invest in a spectrophotometer device such as an i1Display2 or similar. This inexpensive little gadget comes with full instructions and will perform tests on your screen to determine the output.

To check your screen calibration you can compare a test print side-by-side with its on-screen image using a product such as the Gretag Macbeth / XRITE Colour Checker Chart for a final check of saturation, density and hue.

Read more about the Colour Checker here

Remember you can also soft-proof your prints by downloading the appropriate profile before using our self-service system. This is a good way of checking your colour is correct before going to print.

Our current screen profiling settings are: Gamma 2.2. Colour temperature D64-D65 and Brigtness 80 – 100 Cd/m2

1. From the Self-service page to begin the print upload and ordering process click the “Upload files” button.

2. You will then be presented with the following screen on which all you need to do is click the “Select Your Images” button. You may also select your files directly from a Dropbox folder.

3. Once you have selected your files and clicked ok you will have the option to add more images or to upload and continue.

4. Whilst the system uploads your images you will be presented with a progress indicator – this may take some time to complete if you are uploading numerous files or large images. It is also dependent on your internet connection speed; so please be patient!

5. Upon the completion of your file upload you will be presented with the main self-service ordering screen.
Here you are able to set your service, print size, paper media and border options.

6. Your uploaded file will appear in the main window in the centre.

7. If you uploaded multiple files they will be displayed as small thumbnails below the main window.
To select an alternate file, click on the appropriate thumbnail.

8. This page is where you can set the paper type, the size of the print, border size/colour, and confirm files have been set up correctly (if using Adobe Photoshop).


Just Order Now and see for yourself!