SHOOT LIKE A PR
Peter Fenech visits Proud Galleries for an exclusive look behind the scenes of amajor photo exhibition and to learn how to curate asuccessful collection
It is often said that photographers don’t print enough of their images in the modern day.
With storage solutions allowing tens of thousands of digital files to be archived, recalled and viewed instantly across multiple platforms, there is little motivation for many to commit their photographs to paper.
This does raise some serious questions about the longevity of our current photographic database – will future generations be able to access all of the shots we take today and, if not, how can we generate a future-proof visual time capsule of our age?
Thankfully, there are still photographers such as Jill Furmanovsky around, who are dedicated to crafting physical print archives. There are also businesses like Proud Galleries, whose mission is to curate and present these vital collections in a way that tells a detailed story. I’m on my way to visit the Gallery, to discover what it takes to host a major exhibition and to find out what photographers can do to make their work narratively and commercially successful.
As I approach the charmingly traditional building just a stone’s throw from Trafalgar Square, I’m struck by the tranquillity of this central London street, compared to the bustle of the nearby Strand and Charing Cross station. I’m greeted by gallery assistant, Brad, who gives me a quick tour of the main space. I can already see that it is making Jill’s images jump off the walls, capturing their energy, so I ask Brad what makes Proud unique in the way they work. “Proud Galleries is special because it preserves and celebrates the stories and iconic moments of famous rock and roll and music artists from the past,” he says. “Our mission is to let collectors relive some of these movements through the medium of photography and to create exhibitions that transport visitors into the worlds of these legendary figures. We aim to make these stories accessible and engaging, fostering a connection between the audience and the cultural heritage of music history.”
So, what is the first step in the creation process of an exhibition – does a photographer usually approach the gallery or is there an outreach element from Proud? “We receive a high number of portfolios from artists interested in exhibiting at Proud Galleries,” says Brad. “Given our business model, it is vital that we select photographers with work that is commercially viable enough for us to cover our overheads. As a result, the majority of our exhibitions are proposed by us to the artist, although we are always grateful to receive submissions,” he adds. We head to the back of the gallery, where a vi
