Angela Christofilou: Eyes on Activism
Trans Pride Protest, London © Angela Christofilou
January 24th, 2025
By Jamila Woodley @jsoul1_
Angela Christofilou is not your typical photographer. self-taught and deeply immersed in activism, she has spent the past decade documenting some of the most critical social and political movements of our time. From large-scale climate marches, to intimate portraits of individuals fighting for LGBTQ+ rights, women’s rights, and racial justice, her work offers a compassionate look at humanity’s collective struggles and triumphs.
In this exclusive interview, writer Jamila Woodley joins Angela to discusses what drives her to cover such a wide range of causes, the unique power of photography in shaping public discourse, and how she balances respect for her subjects with the urgency of the moment. Through her words, just as much as her images, Angela offers a powerful reminder of the role art can play in social change.
Sex Workers Rights Protest © Angela Christofilou
Jamila Woodley: Your work captures both large-scale protests and intimate portraits. How do you approach these different styles, and how do they compliment each other in telling the story of a movement?
Angela Christofilou: I think it really depends on the movement and the situation. For example, there are times when I deliberately avoid close-ups to protect the safety and anonymity of protesters, especially when revealing their identities could put them at risk. In those cases, I look for other creative ways to tell the story, focusing on banners, details, or the atmosphere. Alternatively, I might capture the protest on a wider scale, avoiding individual faces altogether. It also depends on the nature of the action. If it’s performance-based, for example, or more of a rally, I’ll adjust my approach to highlight what makes it unique. I often liaise with organisers beforehand. A lot of the work I’ve done over the past ten years has been voluntary, just turning up and documenting events, but now, more frequently, movements or organisers invite me to document their actions. When that happens, I’ll chat with them to understand their vision. They might ask for a mix of portraits and wider shots, or we’ll discuss what they’re hoping to capture.
If I’m attending a protest on my own, not on assignment, I’m much more flexible. I’ll walk around, feel the energy, and adapt to the situation. If people seem uncomfortable with cameras, I respect that and put mine away. Sometimes, though, I’ll connect with someone during the event, and that might lead to a closer shot. Above all, I think it’s about being respectful in how you represent the protest. Including portraits can make the story more personal, helping audiences connect with individuals and see themselves reflected in the movement. It’s not just a faceless crowd, it’s people they can relate to. On the other hand, capturing large crowds can highlight the scale of attendance and the impact of the protest. Ultimately, I try to balance these approaches, adapting to each situation and finding the best way to represent the action.
Images from Black Lives Matter Protest, London 2020 © Angela Christofilou
J: Climate activism is a central theme in your work, but you’ve also documented LGBTQ+ rights, anti-racism, women’s rights, and more. What motivates you to cover such a broad range of causes, and how do you ensure each receives the depth and attention it deserves?
A: When I first started, I was completely self-taught as a photographer. My background is actually in voiceover work and acting, but I taught myself photography because I wanted to document protests. It began with a need I felt personally. I started attending a lot of women’s rights protests, particularly those addressing domestic abuse and government cuts to domestic abuse services. The first protest I ever photographed was Sisters Uncut "We Cut, We Bleed" action at Trafalgar Square in 2015. From there, I went on to document protests at Yarl’s Wood Detention Centre, which also focused on issues of abuse against women. This work resonated deeply with me because of a personal experience I had, so it felt very close to home.
Over time, I realised how intersectional these issues are. I naturally gravitated towards causes that aligned with my values, and one cause often led to another. It was overwhelming at times because there are so many important movements to document, but I threw myself into it. At one point, I was attending protests on a weekly, sometimes even daily, basis. Living in central London meant I was surrounded by so much happening, events that often weren’t being covered in the news, so I felt compelled to capture them. Recently, I’ve done a lot of work with climate and environmental groups, particularly Greenpeace. Their larger-scale, targeted campaigns rely heavily on photography to reach wide audiences, so I’ve collaborated with them frequently. I’ve also been involved with Trans Pride from the very beginning, documenting the first Trans Pride events with my friend Kaan K (previously Yas Necati), a non-binary writer. We worked together on coverage for The Independent, which felt like an important opportunity to bring visibility to the movement.
A lot of my work is driven by personal connections. I tend to focus on actions that resonate with me, my friends, or the wider community. For example, I’ve been invited to photograph sex workers’ protests after building relationships with people in that community. You start to see how interconnected these causes are, people from one movement often appear at another, and there’s this strong network of shared activism. That said, after ten years of photographing protests, it can be exhausting and unsustainable to cover everything. Burnout is a real challenge. Now, I’ve shifted my focus to what feels most urgent. For instance, recently, a lot of my attention has gone to protests for Palestine and Gaza. It’s impossible to document everything, so I’ve had to prioritise and concentrate on what matters most at a given moment.
Free Palestine March, London 2024 © Angela Christofilou
Extinction Rebellion “Die-in” Protest, London 2020 © Angela Christofilou
Set Her Free Protest, Yarl’s Wood Detention Centre © Angela Christofilou
J: Navigating the chaos of protests to capture raw and poignant imagery must be a challenge. Can you share insights into your technical and creative process when photographing such high-energy moments?
A: As I mentioned before, I’m self-taught, so I’ve learned everything on the go. The need to attend protests came first, and then photography followed as a way to document them. I wasn’t a photographer initially, it was something I picked up because I wanted to capture these moments. Through attending protests, I learned what I was photographing and how best to photograph it. Over time, I found what works for me in practical terms. For
example, I use a small camera and carry just two lenses. This setup allows me to move freely and even run if necessary. It also avoids coming across as intimidating with large gear, which I’ve found is really important. A smaller setup makes you less noticeable, so you can blend in more easily.
In terms of my creative process, it’s very intuitive. I rely on the energy of the protest, what the organisers want, and the overall dynamic of the event. Because I’m so passionate about protests and the causes behind them, I fully immerse myself in the action. I’ll walk alongside everyone in the march, I’m in the middle of it, not standing off to the side or outside the movement. That’s why I favour wide-angle lenses. They allow me to capture the scene without needing to use a zoom lens and stand far away. For me, being physically present within the protest is important. When photographers use long lenses and keep their distance, it feels like they’re not truly part of the protest. I prefer to be in it, experiencing and documenting it alongside the participants. So, I guess my approach is really instinctive, shaped by being in the moment and fully engaged with the energy of the protest.
Protest against Police Brutality & Sexism, London © Angela Christofilou
J: As both an artist and an activist, how do you view the role of photography in amplifying voices and movements? What unique power does it hold in shaping public opinion or documenting history?
A: Photography is undeniably powerful. When I decided to start documenting and building an archive of protest movements, it was something I felt compelled to do. Obviously, I’m not saying this is a complete archive of everything that’s happened in the last 10 years, but it’s my way of contributing. Photography became my way to give something back. It also depends on who is photographing. Photography can be a fantastic form of evidence. For example, it can inspire future generations, allowing them to reflect on past struggles and see that protests happened, that people stood up, and that there were communities fighting for these causes. It’s so important to have that historical documentation to inspire others.
But it’s complex, who is photographing, for whom, and why? Those are significant questions. When I go to protests as an ally, I always try to be respectful, to build trust, and to make sure I don’t take up space unnecessarily. For example, I don’t sell my photos. There are people who attend protests as photographers purely to earn money, selling images without much care for the cause itself. So, the gaze of the photographer and their intent are really important and often discussed.
Trans Pride Protest, London © Angela Christofilou
A woman cuts off her hair and throws it in the air: Women, Life, Freedom (Iranian women protest) © Angela Christofilou
J: Protests are inherently unpredictable and dynamic. Can you discuss a particularly challenging or rewarding moment you’ve captured, and what it taught you about your craft?
A: Yeah, I think there have been quite a few rewarding moments, like after a protest where, for example, the cause has succeeded or taken a small step towards changing something. This could be a policy change or reaching an MP they wanted to reach, small steps that show the protest was successful in some way. Those little wins are great, but you usually find out about them later. During the protest itself, it’s really nice when you connect with people, meeting them and building genuine connections. That’s always special. And being in the crowd, feeling the energy, some protests have been incredibly emotional. Grenfell Tower, for example, and the first protest that happened right after, was one of the most emotional I’ve experienced. I’ll always remember it.
It’s different when you protest for something that might happen versus something that has already happened, something immediate and close to you. There’s a real urgency to it. At the Grenfell protest, people were hugging each other, walking hand in hand, it was so powerful, you could just feel it. I’ve also witnessed some amazing, brave actions, like activists getting arrested. For example, with Greenpeace, people hang from bridges or take boats out for really risky actions. And then there was that incident with Russia ages ago, there’s real danger involved in these things, but it’s amazing to see their courage.
On a personal level, I’ve had challenging experiences too. Like in France, there were loads of tear gas, which made things tricky, but it was heartening to see people protecting each other. There’s always solidarity, people handing out the bus cards with legal information and looking after each other. Something else that happened to me early on, though, was when a male photographer pushed me to the ground at a women’s march just to get his shot. To be honest, it was one of the first times I’d been photographing, and I was so shocked. I always mention this experience when I get asked about memorable moments because it stands out, it was so aggressive. I know there’s a pressure to get the shot and not miss the moment, but I don’t have that kind of aggressive energy. That experience really threw me. But I will say that’s very much in the minority. Most people I’ve encountered are lovely, but yeah, that was tricky.
Justice for Grenfell Protest, June 2017 © Angela Christofilou
J: What message or experience do you hope your viewers take away from your photographs? How do you want your work to contribute to the ongoing discourse surrounding political and social change?
A: I guess I just want to contribute to a wider effort of documenting and being part of this community, essentially contributing to the overall discussion or collective effort. There are so many people working towards change, and it’d be nice to feel that I’ve made even a small contribution, whether that’s inspiring someone to take action or, as I said before, encouraging someone to stand up, go to a protest, or realise they’ve got the power to do it because others are doing it too. It’s nice when I see my work being used in education, like in books. Of course, it’s great to have photos in exhibitions and galleries, but I think the real importance lies in having the work placed where it can make an impact, like in schools, libraries, or spaces where people might not necessarily believe in those issues. It could spark a conversation. I think that’s what it’s about, contributing to the bigger picture. And I hope people feel that I’ve represented them well and respected them in how they’re portrayed in my photos.
Gathering outside of the Polish Embassy, London, protesting Poland’s new restrictive abortion laws © Angela Christofilou
About Angela Christofilou
Angela Christofilou, of English and Greek heritage and based in London, is a multidisciplinary artist whose work spans acting, voice acting, photography, music, and performance. In photography, Angela focuses on protest, human rights, and community storytelling. Her images, which document individual stories and collective moments of resistance, have been featured in exhibitions, books, magazines, and documentaries.