Metinides attributes his style of photography to cinema. He grew up watching Hollywood movies as well as Mexican films. He loved comedy and noir; from Laurel and Hardy and Cantinflas, to Dolores del Río and Al Capone. “I lived on a street with three cinemas. It only cost a few pesos to go to the matinees. I would skip school and immerse myself in gangster films, sitting in the front row absorbing everything I saw. I learnt about drama and light from watching these films. I began taking pictures in a way no one else was. I would look at a crime scene as if I were watching a movie. I would photograph not only the body, but the detectives at their work, too, elegantly dressed in their hats, suits, and ties. I would try to capture the whole scene in a single frame–not just the corpse or the weapon, but the entire story. I would arrive soon after the police, but nothing would have moved. These were crime scenes.”


The decisive moment in Metinides’ work is the moment of impact–that split second, which will or will not change destiny–rather than the action of taking the photograph. The photographs come later; they are, if anything, delayed decisive moments. “The scene had to remain exactly as it was, time would be suspended, so that the forensic detectives could do their work. It gave me the room to compose my photographs. Once, I received a letter from someone who had seen my work in London, asking me who the actors were. They thought my photographs were staged! I never staged anything; I just took my time.” Metinides’ photographs are crafted with cinematic precision and style, yet his compassion for the victims is never far away. He feels a deep moral responsibility towards those left behind. In describing the events and their participants, his commentaries are straightforward and without any hint of cynicism. He remembers in detail the names, characters, and narratives behind the photographs. It is this obsession with remembering that gives his images their humanity, and ensures that the sufferings of those who appear in them do not merely end up as statistics or yesterday’s news. “Sometimes I would come home and just weep after the things I had seen. It always left an impression. I never forgot.”



Is born in Mexico City in 1934, where he still resides.

Since a very young age, he collaborated with the following newspapers:
La Prensa and Revista Alarma

He worked for:
La Prensa
Periódico Zócalo
Revista Crimen
Guerra al Crimen
And collaborated with:
La Prensa
Revista Policía
Revista Nota Roja
Revista Prensa Roja
Revista Magazine Policía
El periódico Nacional

Periódico ABC
Periódico El Heraldo
Agencia AP
Agencia UPI
He belonged to  La Prensa cooperative from 1960 to 1997.


El espejo de luz. II Bienal de Fotoperiodismo, México, D.F.


101 Tragedies of Enrique Metinides, Aperture Gallery, curadora Trisha Ziff, Nueva York.

Enrique Metinides SERIES. Kominek Gallery, curadora Veronique Ricardoni, Berlín, Alemania

Enrique Metinides-101 tragedies. Rencontre d’Arles Photographie, Arles, France.

Enrique Metinides. En el lugar de concidencia. Garash Galería, Colonia Roma, México, D.F.

Enrique Metinides: Rare Vintage Photographs, Josée Bienvenu Gallery, Nueva York, Estados Unidos

La muerte sin fin. Ciudad de León. México.

Enrique Metinides. Anton Kern Gallery. Nueva York, Estados Unidos
Enrique Metinides. Historias Gráficas. Celda Contemporánea, Universidad del Claustro de Sor Juana,        México, D.F.
Enrique Metinides, Blum & Poe, Los Angeles, California, Estados Unidos

Enrique Metinides. Club fotográfico de México, México, D.F.

Enrique Metinides: Glorious Accident. Kunsthale, Rotterdam, Países Bajos.

Enrique Metinides. The Photographer’s Gallery, London, United Kingdom.
Enrique Metinides. Air de Paris, París, Francia

Fair Royal College. Londres, United Kingdom.

El Teatro de los Hechos. Museo Universitario de Ciencias y Arte, CU, México, D.F. Posteriormente itineró a las ciudades de Guadalajara en julio; Torreón en octubre; San Luis Potosí en diciembre y cerró en febrero en el Centro de la Imagen.


Falsefakes. Vrai faux semblants. Centre de la Photographie Gèneve, Ginebra, Francia.

Antonio Caballero, Graciela Iturbide, Enrique Metinides, Nicholas Metivier Gallery, Toronto, Ontario
Photography in Mexico: Selected works from the collections of SFMOMA, SFMOMA, San Francisco, California, Estados Unidos.

New Perspectives in Latin American, 1930-2006: Selections from a Decade of Acquisitions, Museum of Modern Art (MOMA), Nueva York, Estados Unidos.

La Planta. Arte Contemporáneo Omnilife, Guadalajara, México.

The Exotic Journey Ends. Foksal Gallery Foundation, Varsovia, Polonia.
NRW forum Kultur and Wirtschaft, Duesseldorf, Alemania.

Dedicated to a Proposition. Extra City: Center for Contemporary Art, Antwerp, Bélgica.
Photo España, Casa de América, Madrid, España
Dicen que Finjo o Miento: La Ficción Revisada, Central de Arte Guadalajara, World Trade Center, Guadalajara, México.

Elephant Juice (Sexo entre amigos). Kurimanzutto, Los Manatiales, Xochimilco, México

Trottoirs. Galeria Chantal Crousel à la Poste du Louvre, París, Francia
México, D.F. : Eine Ausstellung über die Wechselkurse von Körpern und Werte. KW Kunst-Weke,    Berlin, Alemania.
Artist living in Mexico, PS1, Nueva York, Estados Unidos
Foto Periodismo en México. Centro de la Imagen, México, D.F.


Servin, Juan Manuel. “El fotógrafo de cadáveres”. Universal. Suplemento día siete, México, D.F. Febrero 2007.

“Un fotógrafo con olfato para los desastres”. El País, España, Enero 9, 2007.

Villasmil, Alejandra. “Enrique Metinides, el fotógrafo del desastre debuta con una exposición en Nueva York”. El mundo, España, Enero 8, 2007.

Mateos-Vega, Mónica. “Sorprenden en EU imágenes de Enrique Metinides sobre hechos policiales”. La Jornada, México, D.F., Enero 5, 2007.

Kimmelman, Michael, “Pulp Nonfiction, ripped from the Tabloids”. The Neuva York Times, Diciembre 21, 2006.

Casco Sosa, David. “Pasión por la nota roja”. Impacto el Diario, México, D.F. mayo 11, 2005.

Jiménez, Carlos “Betting on photographic narratives”. Art Nexus, no. 55, vol. 3, 2005.

Smoltczyk, Alexander. “Der bote des Unglucks”. Der Spiegl, Alemania, no. 28, Julio 5, 2004.

Jimenez, Carlos. “Los desvíos de la historia”. El País, España, Junio 12, 2004.

Reyes Rodríguez, Jaime. “Quieren salir en la foto”. Reforma, México, D.F., Agosto 10, 2003.

O’Hagan, Sean. “Fatal attraction”. The Guardian, Inglaterra, julio 27, 2003.

Carrillo, Ivan. “Entrevista con Enrique Metinides”. Quo, México, D.F., no. 64, Febrero 2003.

Mejía, Fabrizio. “La cámara roja de Metinides”. Gatopardo, México, D.F., no. 64, Octubre 2002.

“La Mirada trágica”. Cambio, España, Octubre 2002.

León, Fabrizio. “Enrique Metinides fue cronista del dolor ajeno durante casi cinco décadas”. La Jornada, México D.F., Noviembre 29, 2000.


 101 Tragedies. Aperture Books, Estados Unidos, 2012

 Enrique Metinides. Series. Komminek books, Alemania 2011

 Viva la muerte. Catálogo de exposición. Kunsthalle Wien, Austria, 2007

Enrique Metinides, The Photographer’s Gallery. Ensayo de Néstor García Canclini, Geoff Dyer, Ridinghouse, Inglaterra, 2003.

 El teatro de los hechos. Instituto de Cultura de la Ciudad de México, Ortega y Ortiz Editores, México, 2000.