by Yvette Depaepe
Published the 9^th of June 2025

Elizabeth Allen is highly successful in her narrative architectural photography, which often blends with street photography. She loves the geometric and abstract features of cities and enjoys finding different angles and perspectives that accentuate a wide variety of patterns, textures and colours. Elizabeth is a charming, warm-hearted lady with a positive outlook on life. In autumn/winter 2022/23, she exhibited a series of photographs at the Queen Alexandra Hospital in Portsmouth, England. Through sales of these photographs, she raised funds for people with ovarian cancer, a disease from which she was fortunate to recover thanks to excellent treatment at that hospital in 2020.
Enjoy this interview, which reveals the warm personality behind Elizabeth's excellent photographic work.

'Shapes and Shine II'

Dear Elizabeth, first, I would like to thank you for taking the time to answer this questionnaire. To begin with, could you please introduce yourself briefly and tell us more about yourself, your hobbies and any other projects you are involved in?
I was born in Portsmouth on England’s south coast, but eventually returned to live there after spending many years abroad. I am passionate about photography, which leaves me with little time for other hobbies. However, I have my younger son and granddaughter living in Bristol, and my elder son and his partner in Godalming, so I visit them regularly. My elder son is a much better photographer than I am, and he collects photography books, which I love browsing. (Godalming is a small town within easy reach of London.)

'Train Times'

How and when did you start your journey in photography?
I started after leaving school to attend the local art college. My father gave me his old camera, and I was also able to borrow a Minolta twin-lens reflex camera from the college. The following year, I left for Manchester School of Art, and by that time my brother had also left home, so my father converted a bedroom into a darkroom. Whenever I went home for the holidays, I loved spending time developing and printing my photos, watching what seemed like a magical process.

'The Fallen and the Survivor'

For many of us, photography is either a hobby or a way of life. How would you describe your relationship with photography?
For me, photography has recently become a way of life, as I am now able to devote plenty of time to it. This includes looking at the work of other photographers, as well as practising my own photography. It motivates me to visit new places and can also be very therapeutic on days when I am on my own. Although I spent four years at art school, my working life has centred around language teaching and writing, so it’s important to me that I can now engage with visual art again.

'Puddle Muddle'

What has been the most important experience so far that has influenced your journey in photography?
It’s difficult to pinpoint exactly, but my eldest son gave me my first digital camera in 2008, around the time that I started travelling more and finding inspiration. Initially, I didn’t focus on a particular genre, but when I visited Iceland in February 2017, I was surprised to find that I had taken more architectural photos than landscape images.

'Arab Baths, Palma'

What is it about architecture and abstract photography that you find so appealing?
I think I am actually attracted to extremes. I love photographing woodlands, whether it's trees or single leaves, as well as discovering the geometry of architecture and its abstract properties in cities. I love a wide variety of patterns, textures and colours, and I enjoy finding different angles and perspectives that accentuate these.

'Watching you'

Which is more important to you: the mood or story behind your images, or technical perfection?
While a certain level of technical skill is obviously required, I would argue that striving for technical perfection can result in soulless images. Therefore, I believe that mood and story are more important. When looking through photos on 1x, it's always the ones with atmosphere that make me stop and feel something. It's not easy to achieve, but it's a worthwhile goal.

'Under the Stairs'

What is your relationship with your subject matter beyond being an observer?
My subject matter is quite diverse, so my relationship with it varies. For example, there is a remarkable tree(not included in this article, but which can be found in my gallery). It was planted in 1609 in Oldbury Court Country Park in Bristol. I often go for walks there with my granddaughter, so precious memories are associated with the tree. I have photographed it in all weathers. At the other end of the scale, I enjoy taking street photos without being observed, so I don't interact with the people involved. Photos I capture at art exhibitions are somewhere in the middle: the artwork means a lot to me, but not the other visitors who are present.

'Outside In'

Do you carefully plan the locations where you intend to take photographs?
I don't think 'carefully' applies to me, as I like to keep an open mind about what I might find unexpectedly during a photography trip. For example, a few months ago, I went to Stratford in East London with the specific intention of photographing the Olympic Aquatic Centre, which was designed by Zaha Hadid. This proved to be a very challenging task, but while I was there, I discovered a row of buildings nearby that were under construction or had recently been completed. These included the V&A East and the London College of Fashion, which has a striking Brutalist staircase. I came away with far more photos than I had expected and have since been back for more.

'Under the Crystal'

Describe your overall photographic vision.
I hope that the photos I have chosen for this article convey an idea of my vision. While I love visiting iconic sites such as the Axel Towers in Copenhagen and the Tulip Stairs at the Queen's House in London, I haven't included photos of these places here because many other photographers have similar images. In most of my photos, I aim to offer a personal perspective, showcasing details with abstract qualities or places and scenes that others might overlook.

'Cycle City'

Could you tell us more about your workflow, from coming up with an idea to creating the final product?
When I take photos on my phone, they go straight into Google Photos. When I get home, I go through them and delete any that are clearly useless. Next, I might single out any that would work well in black and white, while I will look at others for cropping and straightening. Before joining 1x, I was a member of National Geographic Your Shot, where post-processing was discouraged. Therefore, in 2019, I was relatively new to photo editing. I have never used Photoshop because I believe in the magic of reality. However, I have gradually become more experimental with creative editing, and I use the DxO Film Pack from time to time.

'Rush Hour II'

Where do you look for inspiration, and what inspires you the most?
I look around me wherever I happen to be. Inspiration is all around us. This question reminds me of the pandemic in 2020, when I had cancer and local walks were the only option. I used to look for interesting textures and graffiti, even on litter bins. I actually have a series of photos on 1x that I took in a subway where someone had poured paint onto coloured tiles — an act of vandalism that I saw as abstract art. It has since been cleaned up, so I’m glad I recorded it. Of course, grand architecture and the wonders of nature inspire me, too.

'Concentric Centre'

Many people believe that gear is not very important when you are passionate about photography. However, could you please tell us what equipment you use, such as your camera, lenses, lighting and tripod?
I strongly agree with that opinion. I still take my Fujifilm mirrorless camera on trips abroad, but nowadays I generally rely on my Pixel 7a because cancer surgery under my arm in 2020 left me unable to carry more than minimal equipment. Like Cartier-Bresson, I believe that photography is about using our brain, eyes and heart.

'Museo ABC'

Which photo is your favourite? Please tell us the story behind your choice.

'The Writing on the Bridge'

This is a photo taken below the Millennium Bridge in London, close to Tate Modern which is one of my favourite places to visit. It’s very difficult to choose a single favourite, but I picked this one as I wanted to capture the text overlaid on the people because I used text and language in a visual way during my time at art school so this image links back to those days. I will also mention that this is the only photo I have had published on 1x in less than the usual 36-hour curation period, so it must have struck a chord with one of the head curators!

Which photographers or mentors have influenced you and your photography?
During my time at 1x, many photographers have inspired and supported me, helping me to grow as a photographer. If I regularly comment on your work, then you are one of them. However, I can’t answer this question without mentioning Jorge Pimenta. His support has been unfailing, and his comments on my work are often speechless. His superb work has undoubtedly influenced me, and he goes far beyond what is necessary by accompanying his photos with his wonderful poetry. I would also like to mention Carmine Chiriacò for his creative work, which I find so inspiring, and for his dedication. Outside of 1x, my elder son recently introduced me to Rinko Kawauchi's work. I was fortunate enough to see her exhibition in Bristol, and my son has also recently given me a copy of Alec Soth's Gathered Leaves, which I pore over in my spare time.

'At the edge of the everyday world'

Now that we're almost at the end of this interview, could you please tell us about any photographic projects you'd like to be involved in?
London never ceases to inspire me, and there is always something new to see. For instance, the V&A Storehouse in East London opened at the end of May, and the Serpentine Pavilion for 2025 has just opened in Kensington Gardens. I am planning a trip abroad later in the summer, possibly to Paris, as I would love to see Gehry’s Louis Vuitton Foundation.

'A New V&A VII'

Is there anything else you would like to add, and what are your thoughts on using 1X as a home base for your work?
I decided not to renew my 1X membership in December 2021 because I was struggling to accept how many of my photos were not selected for publication. However, after only a couple of weeks, I missed the site and came back, which shows what it means to me. I have learnt a great deal during my time here. It's a wonderful place to view some of the finest photography, engage with other photographers, and receive feedback. If we believe in ourselves, we must be critical of our work and persevere. I will keep going until I can't anymore! Finally, I would like to express my sincere thanks to Yvette for inviting me to do this interview, which is a great honour.

Thanks you from the bottom of my heart, Elizabeth. It is a honour for the entire 1x community, for the readers and certainly for me, to publish this candid interview.
 

'Through the Grilles'

'Hadid Interior IV'

'Self Portrait at Tate Modern'

'Peace and Quiet'

'A restored Wing'