‘Chasing Visual Play’ with Martha Cooper in London.

“I was willing to take some risks to get the pictures I wanted and in general that paid off. “

Martha Cooper

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London’s Stolen Space Gallery is currently hosting a solo show of works by the acclaimed photo journalist Martha Cooper. This is running from 5th Feb 16 -­ 28th Feb 2016. ‘Life Work’ feature’s Martha’s iconic images of graffiti and street art from the 1970s to the present day. In addition Central Saint Martin’s hosted a public talk about pursuits of graffiti and visual play which featured Martha Cooper, Yogain Chandarana (Barrister, specialized in graffiti/street art) ) and Tom Oswald (ex-graffiti bomber, artist and film maker).

Martha has traveled from the USA to Asia and beyond capturing urban play through her photographic work. Martha’s publication ‘Subway Art’ is still recognized  as one of the ‘visual bibles’ of graffiti and urban creativity. Martha has worked with newspapers and magazines including the ‘New York Post’ and ‘National Geographic’

Martha kindly agreed to share some priceless stories and insights on her unique photographic journey …enjoy.

Visual Play has been a central element to your work – where did this interest originate from?

My parents always encouraged creative play so I felt a personal connection when I saw kids being inventive.

‘Play’ is becoming is becoming rarer as children and young people are doing this less – especially in developed countries Would you still choose this subject matter if you were starting out as a photographer now?

I wouldn’t say that play in general is rarer but the kind of play I like to photograph on the street, at least in New York City, has disappeared for many reasons. Parents are more watchful and there are fewer vacant lots filled with raw materials. The photos were inspired by activities I happened to see so no, I would not choose this as a subject if I didn’t come across anything to shoot.

At the recent public talk in London ‘Chasing Visual Play’ – an observation was made about the relationship between play and danger. Do you see them as two sides of the same coin?

There are plenty of examples of very creative play activities that aren’t at all dangerous. But the ones that are might make more interesting photos.

 As a female, and in many cases going into neighborhood’s that were dangerous at the time – How did you cope with situations that might have put you at risk?

I was willing to take some risks to get the pictures I wanted and in general that paid off. Being a female might possibly have made some situations less risky.

Subway Art was published in 1984 and has gone on to be a ‘visual bible’ for many. What advice would today’s Martha pass on to the Martha back then?

The fact that Subway Art became so popular has validated what seemed like dubious career choices at the time, for example quitting a staff job at the New York Post to spend more time shooting photos of trains. I don’t really have any advice for myself. I’m pretty happy the way things turned out.

The iconic 5 pointz building that was located in Queens New York covered almost an entire city block attracting many graffiti artists, hip hop groups and tourists. It was once called the ‘United Nations of graffiti’ but was destroyed despite a passionate campaign by artists and fans. Is there a view that (as sad as this was) it encourages the evolving of graffiti and the scene it self?

I wasn’t that sad about the destruction of 5 Points. For many years it was a nice, legal graffiti spot located on some prime real estate. It’s days were always numbered. Bushwick and Bed Sty are now taking up the slack. Graffiti spread around on many buildings is more interesting than on just one.

Who was your favorite artist ‘back in the day’ and why?

I don’t play favorites.

On the subject of evolving – Fire extinguisher art is really growing. When did you first become aware of it?

It’s been around for quite a few years so hard to remember when I first noticed. I don’t think I took any photos on film of extinguisher pieces and I switched to digital cameras around 2001 so that’s probably when I began to notice. With analog, I was more cautious about shooting because of the expense of film and developing. Digital cameras encouraged me to take more photos of more kinds of things.

Which camera/s and equipment do you use now? how has it changed and why?

I use a Nikon 810 digital camera.I’ve always used Nikon’s so have a lot of lenses. As I said previously, film was expensive so I’ve been able to shoot a lot more with digital. I also like the flexibility of being able to change the ISO or color balance photo by photo instead of having to change the film or add filters. However the editing and adjusting of digital photos is very time consuming.

You have traveled far and wide taking iconic pictures of many cultures – is there anywhere you would still like to go that has not been possible yet?

Not really. I’m enjoying the randomness of being invited here and there, flying from Tahiti to Cape Town to Quito to Detroit to the Azores and beyond. I enjoy not knowing where I’ll go next. I’m always hoping for some fun surprises when I get there.

 

‘Lifework’ is running from 5th Feb -­ 28th Feb 2016  at The Stolen Space Gallery 17 Osborn Street, London UK E1 6TD

instagram: @flipthescriptbook

http://www.stolenspace.com/shop/product/martha-cooper-subway-art-pre-order/

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Barrie Sharpe: ‘In the right place at the right time’

Barrie Sharpe is one of London’s most original characters from the last 4 decades. Whether it be bringing 1970s American Funk music to the masses or heading up the seminal shop “Duffer of St George” he has never been far from the spotlight. His new autobiography, This Was Not Part of the Masterplan, is Sharpe’s first venture back into his youth.

As described in the book’s introduction by Skin (Skunk Anansie), Barrie’s words are his and expressed directly. The book is an engaging read and indeed expresses the ‘tears, pain, joy, and laughter’ of an influential person. The story is one that will resonate with all people whether part of the original scene or not.

We are living in very different times now but as a self published author I appreciate that a single minded vision is what takes you to the next level. I caught up with Barrie recently to discuss production of the book but as he describes the ethos still applies in 2015 – ‘I was a product of the times and the product became the producer. I designed the clothes, ran the club, played the records, was in the band and made the music, which created the scene that changed youth culture worldwide.’

http://sharpeye.tictail.com/product/this-was-not-part-of-the-masterplan-book

Barrie Sharpe ' This Was Not Part of the Master Plan '

What inspired you to get the book produced?

There were too many people out there re-writing history…

How did you go about producing it and did you get all the people you wanted involved?

I started a Kickstarter campaign to raise the money. Most of the people I wanted were involved…

Was it a free flowing process or did you have many challenges?

It was free flowing…

What were the challenges?

I am dyslexic…

Tell us about the process you went through in launching the book?

I financed using Kickstarter & promoted via Facebook…

What would you do differently on a future one, if there is a future one?

I would use the same process…

How is the book selling and will further copies be printed to meet demand?

The book is selling well in the limited market I have exposed it to. If need be…

What is your philosophy/mantra according to ‘Barrie’?

“My game my rules” – “Forget that shit, you can’t hold me back”…

Barrie's flight boxes

The book, funded on Kickstarter, is self-published and out now. http://sharpeye.tictail.com/product/this-was-not-part-of-the-masterplan-book

A Black History Month Special Oct 2014: Ishmahil Blagrove discusses his book ‘Carnival’

Further to a very special launch event at Notting Hill’s Tabernacle in August, it was a priority to speak to the man behind ‘Carnival’ A Photographic and Testimonial History of

Book launch of 'Carnival' A Photographic and Testimonial History of the Notting Hill Carnival.

the Notting Hill Carnival. Ishmahil Blagrove Jr – writer, founder of Rice N Peas Films and publisher Margaret Busby have created a visual document of one of the biggest street parties in the world. It is no surprise that the book has been selling well so it was a pleasure to find out about the process and why it is wise to get hold of a copy now…

What inspired you to get ‘Carnival’ produced?

The book came about as the result of a campaign to correct the false historical narrative that had been in circulation for many years and to get Rhaune Laslett and the real pioneers of the carnival their deserved recognition for establishing this world renowned event.

How did you go about producing it and did you get all the people you wanted involved?

We began by researching all the historical articles and documents published about the carnival, spending a considerable amount of time sourcing photographs and interviewing the surviving pioneers of the event. We then established a editorial committee made up people who were instrumental in the development of the carnival and began filtering segments of the story through them as the book was being written.

Was it a free flowing process or did you have many challenges?

There were many challenges involved, not least the fact that we were deconstructing the established belief that Claudia Jones had started the carnival. This was a false historical narrative and Intellectual fraud that had been validated over the years by many reputable individuals and institutions like the BBC, The Guardian, Evening Standard, Time Out and many of those involved in key positions within the modern carnival. The true genesis of the event had always been known because many of the key pioneers like Hoppy Hopkins, Barbara Shervington, Russ Henderson and Sterling Betancourt are still alive and they are in no doubt as to how the carnival came about and who started it. The reality is that it has always been uncomfortable for many people within the black community to accept that it was a white woman who started the carnival. Many see it as blasphemy to even suggest such a thing but the story is more complex than that – Rhaune Laslett along with community activists in Notting Hill started the carnival as a means of bringing people from different nationalities together, as a direct result of the racism, discrimination and marginalisation that many communities felt at the time.

'Carnival' A Photographic and Testimonial History of the Notting Hill Carnival.

What were the challenges?

In order to contest the established history it was important that we produced a book of exceptional quality that could sit on the shelf alongside any other book and be respected and valued for its intellectual, creative and professional output. Achieving this result without the supporting capital necessary was a challenge but we were extremely creative in the ways we went about achieving this.

Tell us about the process you went through in launching the book?

The launch was a success because the community of Notting Hill and the pioneers who made the event happen took ownership of it. Throughout the production we had an open door policy whereby anyone could walk through our doors at any time and discuss the project, identify characters in photographs or fill in gaps in the story. The launch was hotly anticipated because the audience were involved at every level of the production. This is a beautiful thing because this is exactly how the carnival is produced – so to produce a book that is produced out of the same energy was just sheer magic.

What would you do differently on a future one, if there is a future one?

I embrace the challenges and mistakes of each production and see them as a part if the process. There is nothing I would do differently, the book has arrived as the energies have delivered it, typos and all. Given that the book is now in the public domain, no doubt more photographs and memorabilia will surface that we would have liked to publish – but such things are beyond our control.

The launch was a memorable occasion – what did it feel like to finally launch it and see people’s reaction to it?

It was a relief to finally see the hard work pay off and to hold a physical copy of the book. I’m an avid people watcher and it was a great pleasure to see how the public reacted to the book at the launch and the excitement it caused amongst those who lived the story and recognised many of the faces and characters featured. The pioneers, contributors and myself were subsequently mobbed as people raced about and joined long queues to get their books signed. Over 1000 people attended the book launch which is fantastic for any book. We sold almost £7,000 worth of books on the launch night alone which is quite an achievement and this will go a long way in helping to cover our printing costs.

It is currently Black History Month and I often take part in discussions on whether a month is really enough to celebrate such rich history. I recently heard a suggestion that it should be moved to August to coincide with the Notting Hill Carnival – what are your thoughts on this?

I think black history month has become quite stagnant over the years. We have failed to coordinate a type of national curriculum that would help bring some focus to the event and establish an annual theme or uniformity. We need to be doing more than just pasting up the same posters of the same black icons each year. We need to be more adventurous and expose the achievements of those great icons of African history both past and present and elevate the the debates surrounding the present black experience. This is something that should be a part of our daily responsibility not something that we half heartedly celebrate for one month of the year.

Do you think the younger generation are really aware of the true history of Carnival and how can we educate them?

I don’t think many people were informed about the true history of the carnival and it was for this reason that the book was produced. Carnival: A Photographic and Testimonial History of the Notting Hill Carnival, is a very important document that goes a long way in correcting the historical fallacies and establishing a coherent timeline to the event.

Finally how is the book selling and will further copies be printed to meet demand?

The book has been selling very well and we are almost out of print. At this stage I don’t believe we will be reprinting the book. When we are down to the last 200 copies these will be reserved for academic institutions and libraries as we believe that it is important that the book is available and accessible for future generations who wish to research and investigate the history of the event. We have a fully signed up copy of the book that was signed by all the contributors, people such as Russ Henderson, Sterling Betancourt, Hoppy Hopkins, Leslie Palmer, Darcus Howe, Mike Laslett, Claire holder, Margaret Busby, myself and many others. We received a bid of £1000 to buy the copy and a couple of days ago that bid was surpassed but we are waiting to determine the size of that bid. Such contributions have helped us to cover the immense costs that were incurred in producing this book and has also contributed in making this book a collectors edition that will no doubt be sought after for many years.

The book is available from http://www.ricenpeas.com/docs/shopuk.html

Ishmahil Blagrove at the launch of 'Carnival' A Photographic and Testimonial History of the Notting Hill Carnival

OSGEMEOS – An exclusive insight into the minds of two artists

On June 29 2014 Galeria Fortes Vilaça opened the show A ópera da lua [The Opera of the Moon] by the artists OSGEMEOS. The artists present new works, in an immersive environment, where their narrative world takes on a new dimension.

 Throughout their artistic career, OSGEMEOS have resorted to a variety of techniques and supports either concurrently or alternately, ranging from drawing to graffiti and mural paintings, from painting to kinetic images, sculptures and installations. The show A ópera da lua features about thirty paintings, three sculptures and a 3-D video installation. The works on display include the largest sculpture ever made by the artists, a secret project that was only revealed on the show’s opening day.

OSGEMEOS | A ópera da lua


 Introduce yourself (what would you like people to know about

you, who you are, what you do etc…): 

OG:  We are Gustavo and Otávio Pandolfo, known as OSGEMEOS (“the twins” in Portuguese). We were born in Sao Paulo, Brazil, and we are artists that live in between São Paulo and New York.

 The current exhibition is a big departure from the previous work, how did you create the concept?

OG: We are working in the exhibition “Opera of the moon” for over 2 year now. For us, all our projects are developments from each other, always the next step, closer and closer to the world that exist in our minds. The concept of this exhibition has lots to do with the way our minds work – its an opera! A big opera composed by many different and special elements, such as the sound and the movement – that’s why we explored the movement more than ever in our work this time, playing with the concept of animation. Like the opera and the music, our show has a beginning and an end, but also lots of silences in the middle.

 

 Who and what inspires you?

OG: We are inspired 24 hours per day, receiving and filtering everything we see, feel and experience. We get inspiration in life, dreams, travelling, people, cities, women, sex, music, love, hate, family, friends…

  Who are your icons, past and present?

OG: In general, the nature, god and his creations. There are also lots of artists that inspire us, such as Slava Polunin (Russia), Roger Waters (UK), Aryz (Spain), Blu (Italy), Barry McGee (US), Doze Green (US), Martha Cooper (US), Henry Chalfant (US), VLOK Crew, JR (France), Todd James (US), Mark & Vaughn Bodé (US), TSK Crew, Banksy (UK), Montana Colors (Spain).

 

What did you think of the 2014 World Cup and Brazil’s performance, what impact will this have on the nation?

OG: We were never big soccer fans actually.  When younger, we were always very excited for the world cup period – not because of the soccer, but because everyone else would be inside their homes watching the matches, leaving the streets empty! This meant that we could go out and explore our city to paint, and no one would bother us. We think that the nation shouldn’t feel impacted at all because of soccer, as we have more important issues to deal with this year – elections year.

 I visited Sao Paulo in June and took a lot of pictures of the amazing street art. A lot of it had themes protesting against the World Cup and the amount of public money being spent – is the best art inspired by protest?

OG: The best art is the one that comes from your soul and from your truth. It doesn’t matter if the art is protesting or not. There is space for all kinds of art, and that’s the beauty of it. If the art can touch others, you did it.

 What is the OSGEMEOS philosophy/mantra?

OG: Believe in your dreams and imagination.

 What is your favourite lyric from a song?

OG: It is so hard to mention only one, because there are so many lyrics we love! But we will tell you one as a gift:

 

Comfortably Numb – Pink Floyd

 

Hello

Is there anybody in there?

Just nod if you can hear me

Is there anyone at home?

 

Come on now

I hear you’re feeling down

Well, I can ease your pain

And get you on your feet again

 

Relax

I’ll need some information first

Just the basic facts

Can you show me where it hurts

 

There is no pain, you are receding

A distant ship’s smoke on the horizon

You are only coming through in waves

Your lips move but I can’t hear what you’re saying

When I was a child I had a fever

My hands felt just like two balloons

 

Now I’ve got that feeling once again

I can’t explain, you would not understand

This is not how I am

I have become comfortably numb

 

I have become comfortably numb

 

Ok

Just a little pin prick

There’ll be no more

Ah!

But you might feel a little sick

Can you stand up?

I do belive it’s working, good

That’ll keep you going, through the show

Come on it’s time to go.

 

There is no pain you are receding

A distant ship’s smoke on the horizon

You are only coming through in waves

Your lips move, but I can’t hear what you’re saying

When I was a child

I caught a fleeting glimpse

Out of the corner of my eye

I turned to look but it was gone

I cannot put my finger on it now

The child is grown

The dream is gone

And I have become

Comfortably numb

 Will OSGEMEOS be coming to exhibit in London any time in the future?

OG: So far, we don’t have any projects planned for London in the near future, but we would love to go there soon!

FTS: Thank you so much for your time and inspired art. Very best wishes from all at Flip the Script.

OSGEMEOS A ópera da lua Photo: Eduardo Ortega

 

 

Emanuel Harold : Drummer, Producer, Composer, Educator.

This month we have a special interview with Emanuel Harold. Drummer, Producer, Composer, Educator Native of St.Louis, MO, Harrold began pursuing drums at age sixteen.  His professional career began at the age of seventeen playing with the Willie Akins Quartet. Currently, Emanuel’s Dynamic drumming is recorded on the 2010 Grammy Nominated Album “ Water” for Best Jazz Album Of The Year (Artist) Gregory Porter. Since relocating to New York he has worked and or recorded with great jazz and contemporaries musicians such as Gregory Porter, Kidz in the Hall, Hypnotic Brass Ensemble, De La Soul and Damon Albarn.

 

Who / What inspired you to take up drums?

I grew up in a musician family. My father & mother are ministers. My grandmother Rose Evers was a gospel recording artist and my grandfather Frank Harrold sr and his siblings along side CQ Ross performed in competitions 30-50 years ago around the USA. I meet people who know them all the time after I perform in new York.

When I came along, my grandfather had the drum and bugle corp based out of Kinlock Mo, an all black community in St Louis. So marching, drum line, horns and pit percussion was constantly available since I can remember. My brothers, cousins and friends used to explore, get kicked off and find or voice on any and every instrument. So, what really drove me to the drums was not being able to have that choice being, my grandfather strictly wanted us/me to learn and play horns. But of course we would sneak on the drums and get in trouble. Learning melody and harmony from learning horn parts sticks with me today. So one day, the drummer was missing at a church service I went to with my mom and time after time after that. I finally made that step eventually. Years later I committed full time. That was the transition for me. But I always was a drummer at heart..

 Is there any other instruments you can play or are interested in?

I can play at the piano. Not trained though. I can play a few songs on baritone horn (G clef). I do producing and remixes using Native Machine, Pro-tools.

 Whats the most memorable performance you have done abroad and at home?

Most memorable concert was touring with Hypnotic Brass Ensemble and performing with Prince. Eating breakfast and talking to George Duke, and after performing with Gregory Porter in France – Herbie Hancock going out of his way to tell us we had a great vibe..

What are the most important qualities you demand of the musicians who accompany you onstage?

Qualities I look for is for every band mate to do their job. Come to play every night and enjoy themselves. Lastly to be respectful and responsible..

 Where would you most love to perform live?

At the Super Bowl and The Grammy Awards.

What are your favorite films and have they influenced your work?
The Matrix basically had me picture the inner workings of something, a tune, a rhythm or situation. This thought process challenged me to go inside myself. Like a deeper awareness to do the job, the gig, the drum solo. Learning the rule to break the rules.

 Is there any one thing you take on tour with you where ever you go?

I take my camera, cymbals, studio and and a good open positive attitude.

 Is there any musician (alive or dead) that you’d love to work with – why?

Herbie Hancock and Quincy Jones because they are musical genius and a part of the past and the future for this music. Nile Rogers because he is funky. Derrick Hodge because I enjoy his approach to music. Q-Tip, Nas, LL Cool J, Common, Madlib and Rev Run because they like the funky drummer. Max Roach MBoom, Betty Carter, Ella fritz Gerald, Coltrane, Miles, J Mac, T Monk and Ahmad Jahmal because of the legacy of the music.

The projects you have worked on show an open mind to different genres of music – whats planned for the rest of 2014?

Well the 2014 Liquid Spirit Tour with Gregory Porter, working on writing and finding time to practice and transcribe more. Also been talking with renown DJ’s about some recordings and shows.

The Liquid Spirit Tour continues through out the UK!

Celebrating Classics: Donald Byrd & Guru’s Jazzmatazz

Flip the Script had the great honor to meet both Donald Byrd and Guru on the Jazzmatazz London Debut (29 November 2000).

The gifted trumpeter Donaldson Toussaint L’Ouverture Byrd II, (born December 9, 1932) was an American jazz and rhythm and blues trumpeter. A sideman for many other jazz musicians of his generation, Byrd is best known as one of the only bebop jazz musicians who successfully pioneered the funk and soul genres while simultaneously remaining a pop artist. He teamed up with the Mizell Brothers (producer-writers Larry and Fonce) for Black Byrd in 1972. It was highly successful and became Blue Note Records’ highest-ever selling album. The title track climbed to #19 on Billboard’s R&B chart and reached the Hot 100 pop chart, peaking at #88. The Mizell brothers’ follow-up albums for Byrd, Street Lady, Places and Spaces and Steppin’ Into Tomorrow were also big sellers,

In 1993 Guru released Jazzmatazz Vol. 1. Guru decided to take music to new heights by utilizing the brilliance of actual jazz musicians to produce the sounds to rhyme too. He merges his potent and forever meaningfull rhymes with beats and instruments directly from authentic lounge jazz. The album fuses an assortment of jazz talents both old and new, including Donald Byrd, Lonnie Liston, Roy Ayers, Courtney Pine, Branford Marsalis , and Ronny Jordan. He used the melodic voices of Carleen Anderson and N’Dea Davenport and collaborated with french rapper MC Solaar. The variety of guest artists adds diversity and originality to each track, and gives the album a distinct jazz feel. In its own right the album is a historical document of jazz and hip-hop starting to blend.

We pay tribute to both musicians and continue to celebrate their great legacy in music.

Guru & Donald Byrd - Nov 29 2000

 

Celebrating Classics with Floetry….the Songtress and Floacist

With the approach to the festive season and of course Thanksgiving, each week there is a free print with every purchase of the softback version of Flip The Script! This week the print is of Floetry and a special image of the duo in their prime.

After show party

After show party

Marsha Ambrosius (The Songstress) and Natalie Stewart (The Floacist) formed in 1999 recording two studio albums and one live album. Floetic was released in 2002, followed by Flo’ology in 2005. After moving to the US they shared a great writing talent working with artists such as Jill Scott, Bilal and Michael Jackson for whom Marsha penned the 2002 single “Butterflies“.

Celebrating Classics: Pete Rock & CL Smooth – Mecca & The Soul Brother

In anticipation of the Mecca and the Soul Brother 20th Anniversary UK tour Flip the Script continues the ‘Celebrating Classics’ series with a few pictures and video from the duo’s last visit. The duo return to London’s Jazz Cafe on the 28 Oct 2012….

“I was 14 years old with this drum machine in my room, I had 2 turntables a mixer and a tape deck. Before I got that machine I was making beats with a tape deck. I would over dub and keep pausing and pausing for the parts of the record I liked until I learned how to sample.” Once Pete Rock learned how to use equipment at his disposal he set out to make his mark on the music industry. The production technique was a skill known as ‘filtering’ that made 1992’s album Mecca & the Soul Brother and 1994’s The Main Ingredient so outstanding. Pete Rock pioneered a way of filtering out sound from original recordings so he could make his own beats. It made his sound and especially his blaring horns stand out. ‘Once I got the baseline and bottom beat, everything else comes easily’ The most famous example possibly being “They Reminisce Over You (T.R.O.Y.)” (on which he uses a horn sample from Tom Scott‘s “Today”), Peter Rock has also used horns on several other productions such as “Straighten It Out”, Public Enemy‘s “Shut ‘Em Down”, Rah Digga‘s “What They Call Me”, and A.D.O.R.’s “Let It All Hang Out”.

Pete Rock & CL Smooth, London UK 2009

 

(words adapted from dominique the great radio)

Flip the Script Book goes to Canada BC…

The scenery and views are second to none, proving why British Columbia is firmly in the top 5 destinations to live. It also has a special record store which we discovered and now very pleased that the book is now stocked there! The Beatmerchant is a world ~ famous Record Store, a tourist attraction and one of the jewels of Steveston on the west coast of British Columbia. In fact, it is now so integral to the village’s cultral life that it’s existence  and permanence seem inevitable. The Beatmerchant stock New & Used Vinyl Records, CDs, Movies & Music DVDsConcert Posters, Books and T~Shirts. So Flip the Script finds another special place and continues to reach out overseas. Watch this space for more updates!  

 

Flip the Script book now stocked in the new Photographers Gallery!

We are pleased to announce that the ‘Flip the Script’ book has been added to the beautiful new book store in the Photographers Gallery. The Photographers’ Gallery Bookshop sells an extensive selection of photography books, cards, magazines and merchandise and a unique range of camera equipment. For those that are not aware the newly built space is the UK’s first public gallery dedicated to photography. We strongly recommend a visit if you are around Oxford Street (16-18 Ramillies Street, London W1F 7LW)