Liz Johnson-Artur-ACOFI-Susie Bubble
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, illness and then when I became determined to become a photographer I began to assist her, this memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Prince Cassius.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
She was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. Since then we’ve worked together many times – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than the environs surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of.
But first of all, she answers a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Gabby Young.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find afro/caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so here, I’ll let the pictures do the talking.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, recipe and then when I became determined to become a photographer I began to assist her, memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Prince Cassius.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
She was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. Since then we’ve worked together many times – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than the environs surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of.
But first of all, she answers a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Gabby Young.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find afro/caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so here, I’ll let the pictures do the talking.
Lesley Barnes.
Susie Bubble.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, case and then when I became determined to become a photographer I began to assist her, memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Prince Cassius.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. Since then we’ve worked together many times – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than the environs surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of.
But first of all, she answers a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Gabby Young.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find afro/caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so here, I’ll let the pictures do the talking. And don’t forget to visit the Black Ballon Archive.
Lesley Barnes.
Susie Bubble.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, and and then when I became determined to become a photographer I began to assist her, memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Prince Cassius.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. Since then we’ve worked together many times – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than the environs surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of.
But first of all, she answers a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Gabby Young.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find afro/caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so here, I’ll let the pictures do the talking. And don’t forget to visit the Black Ballon Archive.
Lesley Barnes.
Susie Bubble.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, information pills and then when I became determined to become a photographer I began to assist her, see memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Prince Cassius.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. We’ve worked together many times since – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than that surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of.
When putting this blog post together I decided to ask her to answer a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Gabby Young.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find afro/caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so I think it’s best to just let the pictures do the talking. Didn’t Liz capture the spirit of the ACOFI launch event so well?
Don’t forget to visit the Black Ballon Archive.
Lesley Barnes.
Susie Bubble.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, cialis 40mg and then when I became determined to become a photographer I began to assist her, memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. We’ve worked together many times since – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than that surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of Magazine.
When putting this blog post together I decided to ask her to answer a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson at work.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find Afro/Caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so I think it’s best to just let the pictures do the talking. Didn’t Liz capture the spirit of the ACOFI launch event so well?
Don’t forget to visit the Black Ballon Archive.
Illustrator Lesley Barnes.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, salve and then when I became determined to become a photographer I began to assist her, website like this memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. We’ve worked together many times since – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than that surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of Magazine.
When putting this blog post together I decided to ask her to answer a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson at work.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find Afro/Caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell them so very well… so I think it’s best to just let the pictures do the talking. Didn’t Liz capture the spirit of the ACOFI launch event so well?
Don’t forget to visit the Black Ballon Archive.
Illustrator Lesley Barnes.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, sales and then when I became determined to become a photographer I began to assist her, store memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. We’ve worked together many times since – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than that surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of Magazine.
When putting this blog post together I decided to ask her to answer a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson at work.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find Afro/Caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell those stories so very well… so I think it’s best to just let the pictures do the talking.
Don’t forget to visit the Black Ballon Archive on your way out.
Illustrator Lesley Barnes.
The illustrators gathered and ready to draw the guests.
Tamara Cincik and Amelia Gregory at the ACOFI launch by Liz Johnson-Artur.
Liz Johnson-Artur and myself go back a loooong way. In the days when I was interning at Arena Magazine (RIP) I accompanied her on shoots in Brixton as a fashion stylist’s assistant, order and then when I became determined to become a photographer I began to assist her, memorably on a series of fashion shoots featuring posh girl models posing in posh country houses for the high society rag Tatler. They liked her quirkiness, and for us it was a great chance to see how the really rich live.
Jonno Ovans, Matt Bramford & Sally Mumby-Croft.
Liz was one of the few people who was willing to take me on at a time when I knew nothing about the technicalities of taking pictures – I still don’t know much to be fair, but that’s never hindered my love of photography. We’ve worked together many times since – she produced some wonderful early shoots for Amelia’s Magazine, then moved down to Brighton to bring her girl up in a more sedate environment than that surrounding the tower block in South London where she lived for many years.
ACOFI illustrator Antonia Parker.
Rachel de Ste. Croix drawing Susie Bubble.
She’s the perfect person to bring along to a party because she so delights in capturing extravagant folk of all types, so, when I needed someone to shoot Pete Doherty and co at play for an editorial piece that I wrote for Fader Magazine right at the height of his mania who better to call on than Liz Johnson-Artur? And then in January I thought of her to capture my ACOFI launch party attendees. Luckily it was easy to persuade her to leave her south coast idyl and join us for the afternoon.
6 Day Riot soundchecking.
Claire from Ballad Of Magazine.
When putting this blog post together I decided to ask her to answer a few questions: read on and be inspired. It’s always a total pleasure to team up with Liz. Mwah.
Rosie and Harriet of Tatty Devine.
What was your favourite part of shooting the ACOFI launch?
The most amazing thing was to see what you are doing. I am one of those people who was there when you started, and seeing your energy prosper in such a creative and committed way, is for an old friend, to say the least… very nice.
Why do you still prefer to shoot on film? What does it add to an image that you can’t get on digital?
I love to have the negative as a starting point and I love being in the darkroom – I wouldn’t want to give it up for no easy ‘perfect photoshop’. My hands have a chance to touch negatives and this is part of what I want my photographs to transmit, the sense of being in touch with all our senses. I think this is an especially important thing in these times. Shooting on film gives you time between the taking and the having. For me photography is a sensual experience – it’s not about perfection or quick turn over, but the journey that it takes to see the photograph. I think that the limitation that film offers is also the creative and spiritual freedom, and it is worth preserving.
Andrea Peterson at work.
You’ve got an amazing blog called Black Balloon Archive – what’s it all about?
My Black Balloon Archive started when I came to London and didn’t know much about the mix of the city. Growing up in Germany my access to black culture or communities was very much limited to black GIs, and standing in Brixton waiting for the bus I suddenly realised that I was in a place where all this could be explored. My camera was somehow a way of convincing people to let me in; there was never an aim or a strategy. All I wanted was to be let in – to look and learn.
Nina Dolcetti shoes.
Running up and down the stairs at 123.
Starting in London I developed this hunger to find Afro/Caribbean communities to document wherever I could… in Portugal, Germany, the US, France and finally last year in Russia. Being of Ghanain/Russian descent myself this was personally an amazing trip. The Black Balloon Archive blog presents some of the images which I find in my archive – it enables me to retell some of the stories and revisit the faces that I have met on this journey…
Johann Chan of Digital Arts.
Michelle Urvall Nyren and Naomi Law.
What will you be shooting next?
That depends on what will cross my path, but I guess that somehow it will be always be connected to people and their stories.
Courtney Blackman of Forward PR and Cate Sevilla of Bitch Buzz.
Lily Vanilli having the Dr.Hauschka treatment.
Liz, you tell those stories so very well… so I think it’s best to just let the pictures do the talking.
Don’t forget to visit the Black Ballon Archive on your way out.
Illustrator Lesley Barnes.
The illustrators gathered and ready to draw the guests.
Detail
The Beehive Design Collective, more about part of the Rising Tide climate activism network in the US, has created this portable mural to draw attention to the environmental issues surrounding coal. Looking at the full True Cost of Coal poster, the level of detail is incredible. Bears, frogs, birds, factories, cars, smoke … click here for a proper close-up look.
The edges of the poster are full of animal life and nature, meaning if the poster is folded it will depict an untouched landscape. Fully laid out, however, the poster shows a different story, detailing the ravaging effects of coal extraction and toxic contamination.
Detail
The Beehive Collective, originating in Machias in Maine, USA, presented the poster last Thursday at the London Action Resource Centre in Whitechapel. The Collective is a volunteer-run group of activist artists, who use their artwork to run community workshops. They seek to emphasise the connections between coal mining and climate change, and also the role of capitalism in failing to rectify our environmental problems.
Detail
The artwork draws special attention to the situation in Appalachia. In this large North American mountain range it remains common to blast off entire mountaintops in search of coal, leaving behind a landscape resembling moon craters. It took two and a half years to make the poster, with it being a truly collaborative project on behalf of the Collective.
Detail
For more information, including buying a poster, see the Beehive Design Collective website. The London Action Resource Centre is at 62 Fieldgate Street, Whitechapel, London E1 1ES. Find Rising Tide UK here.
Categories ,activism, ,Appalachia, ,coal power, ,design, ,environment, ,pollution, ,rising tide, ,The Beehive Design Collective, ,the London Action Resource Centre, ,The True Cost of Coal
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