Worldly Wicked & Wise Gallery
81 Salusbury Road
London NW6 6NH
10 March – 9 April 2026
AIM, SHOOT, STOP, FIX brings together four of the most influential music photographers of their generation — Peter Anderson, Chris Clunn, David Corio and Lawrence Watson — in a rare group exhibition celebrating the raw, intimate, analogue age of music photography.
The Fugees at Sony Records NYC 28 January 1994 (l-r) Wyclef Jean, Lauryn Hill, Pras Michel. © David Corio
All four began their formative careers at the legendary British music weekly New Musical Express (NME) during the 1970s and 1980s — a period when music journalism shaped culture and photographers were granted remarkable creative freedom and unprecedented access to emerging artists.
This was before corporate gatekeeping, before image control strategies and social media curation. It was a time when trust, instinct and proximity defined the image. These photographers were embedded in the scene — backstage, on the road, in studios, at home — documenting artists not yet mythologised, not yet media-managed.
The result is an archive of images that helped define how the world sees modern music.
Among the hundreds of artists they photographed are: Paul Weller, Oasis, Run DMC, Robbie Williams, Tricky, The KLF, Lee Perry, Eurythmics, Blur, Joy Division, New Order, The Clash, Madonna, Sade, Iggy Pop, David Bowie, Marvin Gaye, Nick Cave, Bob Marley, Ian Dury, Jamiroquai, George Clinton — and countless more.
AIM, SHOOT, STOP, FIX offers a visual re-examination of the cultural moment when post-punk fractured into new wave, hip-hop crossed into the mainstream, Britpop exploded, and club culture reshaped Britain. These are not simply portraits — they are documents of musical history in the making.
Each photographer emerged from — and remains devoted to — analogue practice. In an era long before digital preview screens, every frame carried weight. Film had to be developed by hand. Prints were crafted in the darkroom. Light, chemistry, timing and instinct were inseparable from authorship.
Most works in the exhibition are hand-printed by the photographers themselves, offering audiences rare insight into the full photographic process — from contact sheet to final print. Grain, contrast, tonal depth and paper choice become part of the narrative. These are not digital reproductions of history; they are original, tactile artefacts.
Though each photographer has since built a wide-ranging career beyond music, this exhibition revisits the period that shaped their visual language — when experimentation was encouraged, access was open, and visual identity was being invented in real time.
AIM, SHOOT, STOP, FIX brings together some of the most enduring images in music, made in a time of extraordinary access and trust. These works capture musicians at decisive moments in their careers — unguarded, ambitious, unfiltered — exactly as they were.
www.worldlywickedandwise.co.uk
@peterandersonphotos @chrisclunn @david.corio @lawrencewatsonphotgraphy