I’m a celeb photographer and this 80s heart throb scared me | UK | News
David Koppel had become a young assistant in a photo studio until he worked in Limelight, so the sincere pictures of celebrities placed him out of his comfort. (Picture: Frank Herrmann.)
For a good part of the 1980s, London’s focus of attention in West End was the most stylish nightclub in the country. George Michael from the Culture Club, Boyge Hucknall from Simply Red, Billy Idol, Kim Wilde, Nil Rodgers from Simply Red, Johnny Rotten-Ex in the center of Johnny Rotten-Evren, one of the sex guns of Johnny Rotten.
When the images of all these celebrities were often drunk and their guards fell, David Koppel was the home photographer of the nightclub, then in the middle of their 20s.
“I was very nervous. I didn’t like nightclubs, I didn’t drink and I wasn’t interested in celebrities, Kop Koppel remembers that he is a little wide -eyed and innocent when he starts.
Until then, he had become a young assistant in a photo studio, so he placed the sincere pictures of celebrities out of his comfort.
“This was a very new thing for me, Daily says Daily Express. “I was always a little nervous around famous people and I was worried about upset them.” Soon after he entered the step. Initially, the 63 -year -old Koppel was now worried about the transition to the famous photographs of serious photography, so in 1986 he accepted only one night work.
But it was instantly connected. It lasted one year and then paved the way for a successful paparazzo with a profitable work in newspapers and magazines. He lives in North London today and works as a photographer and painter.
This month, Koppel will publish the best photos in a new book in a new book with an exhibition that accompanies in October. The focus of attention in a abandoned Galli Presbyterian Church on the Shaftesbury Boulevard, based on the Victorian period, was first opened in 1985 and quickly founded himself as the heart of London’s popular culture. Musicians, actors and models, the capital’s cool clubs and shoulders, medieval -style belts, romanesque columns and church windows drove into the background.
“It was the British of Thatcher, a time for bankers and big hair, the publisher of the book explains. “New Romantics and US rap legends shared the dance track with British TV stars, comedians, Punk rocks, film stars and fashion enthusiasts.”
But on the upper floor, he took the most interesting photos in the VIP room. Here, with a single light coming from the shaking candles, the VIP room, which Koppel said that he took the most interesting photographs, would pass by the celebrities because they were chatting, drinking, drinking, drinking, and flirting – between the fame, between the fame, between the wings, between the wings, between the wings and the wings. (Picture: David Koppel)
The club was operated by Peter Gati, who had already opened places under the same brand in New York, Florida, Atlanta and Chicago. He became so famous in the London office that even the future King Charles spent an evening in the late 1990s. Finally, it was closed in 2003 and became the Australian sports bar. II.
Koppel met with a regular focus of attention well. TV presenter Jonathan Ross, Lemmy from Motorhead, I was curious about me Volpeliere-Pierrot and Jon Moss of Culture Club and Boy George.
In fact, Boy George was very interested in him, once he chatted with him quite strongly. “It was really cheeky, very tired and very entertaining,” Koppel is a flashy singer.
One of the regular ones who didn’t like his photo was George Michael. “It was particularly difficult, Kop Koppel remembers. “I was worried that he reacted to me.”
Koppel had to ask for permission before taking any of his photos, as the nightclub was officially employed by PR.
“I shouldn’t have to stand the line, play the game and upset anyone, ı he remembers, but before the subjects were there, he would secretly enter the secret shots.
The fee would cost £ 25 plus one night, and if his photos were published in the National Press, he could win much more than that.
He was hired at the club three nights a week, always remembering how dark it was. There was a big dance track and a scene that was overlooked by a balcony on the ground floor. Groups and DJs regularly play sets and fashion shows take place. There was a living room area on the basement and a kitchen where they often prepared a sushi – he remembers it was very new at that time.
But on the upper floor, he took the most interesting photos in the VIP room. Here, with a single light from the trembling candles, he would skillfully pass among celebrities while chatting, drank, drinks and flirting in feasts.
He caught moments of excitement, drunkenness and sincerity, a window that returned to the 1980s, with all the hedonistic splendor.
One of the regular ones who didn’t like his photo was George Michael. “It was particularly difficult, Kop Koppel remembers. “I was worried that he reacted to me.” (Picture: David Koppel)
Among the many images in his book, you can see Billy Idol dancing with his girlfriend; George Michael seems to be signing a banknote; Artist Leigh Bowery typically in ugly costumes; Lemmy shows the nipple from Motorhead; Comedian Mel Smith’s wife Snogging; Designer Jasper Conran Kissing player Patsy Kensit; Singer Martin, apparently fry with a girlfriend who nibling his ear; Coning Iggy Pop Blondie Drummer Clem Burke; Robbie Coltrane with Johnny Rotten; Julian Lennon in a Indian -style fringe jacket; Preaters’ singer Chrissie Hynde embraces the poues singer Shane Macdowan; And a very naked meat to boot.
Koppel’s job was rarely easy. “He’s so dark, so dim light, I couldn’t see my camera, or he remembers. “That’s why he brightened people on a cigarette or match and held them on their faces, so I could see them. And the extraordinary thing was that everyone smokes in those days. So there were matches everywhere.”
It was absolutely unlimited for the Koppel of the nightclub and in the manager’s office, on the VIP room. “In the past, they used to be a bouncer on the stairs to the office, and you haven’t passed there unless you were invited. I never knew anything, no matter what happens there.”
Koppel says celebrities are now in their guards for paparazzi, saying that today’s nightclubs will never be able to capture such sincere images. “Nowadays, everyone has a mobile phone and everyone is filming everything, or he says. “Everyone is a photographer and everyone is a model. At that time there were very few people’s camera.
“There was something quite pure about my photos. There was a certain respect that I thought he was going now between the subject and the photographer. There was a level of privacy that did not exist today in those days.”
Although Koppel is excited about his upcoming book and exhibition, he is upset that most of the celebrities he photographed now die and go.
“When we looked at the archive of this work years ago, I was impressed that how many famous faces were no longer with us, Ehanlı. “Robbie Coltrane, Lemmy, Shane Macgowan, Malcolm McLaren, Derek Jarman, Jeff Beck, David Soul and the most shocking George Michael.
“This small collection of work is a celebration of nightlife of a last time.”
● Limelight was published by David Koppel £ 50 this month. A accompanied exhibition at the London Zebra One Gallery between 9-21 October; Davidkoppel.co.uk
