Interview with Alex de Haas from Genesis Imaging: Printing for the Display

The Legends Journal interviews Alex de Haas from Genesis Imaging on Printing for the Display.
L.J. How did you first connect with Zoë Law and the Legends project?
A.H. I first met with Zoë in 2015, She approached Genesis Imaging to explore the possibility of doing some fine art printing, mounting and framing, which aligned perfectly with Zoe’s vision later for the Legends project.
L.J. There is a mix of printing techniques across both gallery spaces. Can you describe the two methods?
A.H. The display uses two primary printing techniques. For the traditional prints, we used Hahnemühle’s Fine Art Baryta paper to produce rich, detailed images with a stunning finish, these were mounted onto Di bond for durability and a sleek presentation. For the lightboxes, we printed onto a special backlit material and used illuminated LED panels to bring the portraits to life. These methods complemented each other nicely, creating a visually compelling and cohesive display across the specially designed gallery space.

L.J. The lightboxes are an impressive part of the Legends display both visually and conceptually. What were some of those initial questions that led to the decisions to use these as part of the display
A.H. One of the initial questions revolved around how to emphasize the energy and depth of each portrait. We discussed how to make the subjects “come alive” within the gallery space. Lightboxes provided a solution by combining vibrant imagery with illumination, which not only enhances visual impact but also resonates conceptually with the idea of celebrating iconic figures. Putting them in the spotlight. The space was going to be dark and having the ability to fine tune each portrait was a lovely touch.
L.J. Can you talk us through the process for constructing the lightboxes?
A.H. The lightboxes were carefully curated in collaboration the design team and our production guys. The layout was very important throughout the whole project. Each portrait was printed using the backlit printing method, ensuring maximum vibrancy and precision. High-quality tension fabric frames were used to achieve a clean, professional aesthetic evenly diffused LED lighting. Every lightbox was tested for brightness, and reliability to ensure a flawless final product.

L.J. What were some of the main challenges of building such a large number of lightboxes physically as well as considering the installation to display them all?
A.H. One of the main challenges was ensuring uniform quality across a large batch of lightboxes. Each had to be precise in terms of construction, illumination, and durability. The wall layout had no room for error as we needed to align the hole in the wall for the power cable. Logistically, coordinating the assembly and transportation of a large number of fragile pieces required careful planning.
A lot of internal conversations were had over all aspects of the project. I really loved working with the other teams involved, the timings of everything and watching it come together was very rewarding. For the installation, spacing and alignment were critical to achieving the desired visual flow in the gallery. Our team worked closely with the exhibition staff to manage these factors and ensure everything was displayed to perfection.
L.J. You worked very closely with Zoë through the printing process. Why did you think this was important to achieving the desired results?
A.H. Working closely with Zoë was essential because this project was so personal to her. Collaboration meant we could adapt things along the way—whether it was refining a colour tone or testing different paper options. It was all about making sure the work captured her vision. Plus, having that back-and-forth dialogue made the whole process feel dynamic and ensured no detail got overlooked. Both myself and Genesis Imaging are incredibly grateful to have worked on this project.
L.J. What was your main takeaway from working on this project with Zoë and the National Portrait Gallery?
A.H. This project reinforced how crucial collaboration is in bringing a creative vision to life. It was also a reminder of how powerful a mix of technical expertise and artistic passion can be. Seeing it all come together was incredibly rewarding—knowing we contributed to something that means so much to so many people. Both myself and Genesis Imaging are deeply grateful to have been part of such a significant project; it’s a privilege to work on something with such lasting impact.

Your Career
L.J. What is your personal connection and interest in photography
A.H. Photography has always fascinated me because of its ability to capture a moment and tell a story visually. I studied graphic design and photography in South Africa, which gave me a solid foundation in visual storytelling and technical skills.
In my spare time, I love exploring long-exposure photography, as it allows me to experiment with light and time in a way that feels almost magical. It’s a medium that balances technical precision with creative expression, and that balance is something I’ve always found rewarding to explore.
L.J. What was your route into working at a company that specializes in printing artwork for exhibition spaces?
A.H. I grew up in South Africa, where growing up at home creativity was always encouraged. After moving to London, I worked in roles supporting artists and gradually developed a strong interest in the technical behind the scenes side of photography and printing. Joining Genesis Imaging felt like the natural next step—a chance to combine my love for art with the technical skills I’d honed over the years. I started at genesis early 2006.

L.J. What is the most interesting aspect of your job, and are there any parts you find particularly challenging?
A.H. The variety of projects is definitely the most interesting part of what I do. Every job comes with its own set of creative and technical challenges, which keeps things fresh and exciting. That said, balancing perfection with tight deadlines can sometimes be a challenge, but it’s also what makes the job so rewarding.
L.J. What was your first job after leaving school?
A.H. My first job was assisting at a photography studio/wedding photographer, where I gained hands-on experience with camera equipment and learned the basics of editing and printing. It was a great introduction to the industry and sparked my passion for image-making, and now with camera less technology and the next wave of image creation.
L.J. What skills are essential for your role?
A.H. You’ve got to have an eye for detail and a good understanding of printing processes and materials. Communication skills are just as important since a lot of the work involves collaborating with artists and ensuring their ideas translate perfectly into the final product. Problem-solving and flexibility are also key. I often see myself as a facilitator, bridging the gap between clients and production, which requires both technical expertise and the ability to adapt to at any given moment.
L.J. Do you have a favourite portrait in Zoë Law’s Legends series, and why?
A.H. I have to say the portrait of Colin Salmon is my favourite. The use of positive and negative space is brilliant, and the light source in his eyes is in the perfect place.—The lighting is soft yet perfectly sharp. Fitting for this legend. It gives you a sense that he felt completely at ease during the shoot. The tilt of his head and the hand placement makes me think he’s reflecting on a question Zoë just asked. And the styling? It’s so cool—the glasses, the hat, everything about it just works. I also love the square format. It’s a nod to medium-format film photography days, and it’s a tough format to pull off well. This portrait of Colin feels timeless, like it belongs in both the past and the present. It’s one of my favourite images Zoe has taken. Her new stuff is also very good, I look forward to seeing more. I like the idea of one day Zoe taking my portrait…..one day.
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Genesis Imaging – genesisimaging.co.uk