Self-Published

• Self 2020
  
• Hardback, 1st edition
  
• New
  

• Self 2019
  
• Softcover, 1st edition
  
• New
  

Katil var means "there is a murderer". According to many, that murderer is Recep Tayyip Erdogan, the president of Turkey.

A professed man of the people with multiple Swiss bank accounts and over $4,000,000 stuffed in shoe boxes. A man who ordered the police to tear gas thousands in Taksim, who weeps for a dead Egyptian girl and defames a dead Turkish boy. A man who steals and distributes opposition media to friends like candy. And a man who violates human rights to lock up Selahattin Demirtas, the most charismatic politician Turkey has seen in decades. Much of this is alleged of course.  It can only ever be alleged.

Katil var. I first heard those words in the toxic and pivotal summer of 2013, during the Gezi park protests. Reverberating in and echoing around Taksim, Sisli, Okmeydani and Gazi Mahallesi. Words shouted with courage by the thousands of lithe youths that I had a crush on and wanted to be.  Words painted on walls and quickly obscured with grey paint the next morning. Words that could only be voiced in the safety of a crowd.

Katil var. A photobook of what I saw between 2012 to 2015. The short period when Erdogan was at his most vulnerable, beginning with the lead up to Gezi, Gezi itself and covering the Soma mining disaster, the refugee crisis, Newroz festivals and culminating with the loss of the AKPs majority in the summer of 2015.  A time perhaps predicted by Nazim Hikmet in his poem, Plea. 

Katil var. My first and probably last photobook. It's the result of nearly 40,000 shots with a Leica MP, llford HP5 and an oversized flash with a sticker of a heart on it. It's the result of being detained and deported. It's the result of friendships gained and even better friendships lost.  And it's the result of years of artistic insecurity, procrastination and of reconciling myself to loss.

- Charlie Kirk.

Edition of 500 copies.  Signed copy.

• Nobody 2019
  
• Hardback, 1st edition
  
• New
  

A pillar knocked into the ground next to a stream in a flat, open landscape, trees and houses visible in the distance, beneath a vast sky. That is the backdrop to all of Stephen Gill´s photographs in this book. We see the same landscape in spring and summer, in autumn and winter, we see it in sunshine and rain, in snow and wind. Yet there is not the slightest monotony about these pictures, for in almost every one there is a bird, and each of these birds opens up a unique moment in time. We see something that has never happened before and will never happen again. That it takes place in the midst of a landscape characterised by repetition, in which time is cyclical, sets up a keen existential dynamic: on the one hand, everything has happened before, there’s nothing new under the sun; on the other, every moment is unique and carries the hallmark of the miracle: what happens happens only once and never again.

But this wasn’t what I thought about the first time I looked at these photographs. In fact, I barely thought at all, for I was shaken, as a person so often is when confronted with an extraordinary work of art. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives. Ancient, forever improvising, endlessly embroiled with the forces of nature, and yet indulging too. And so infinitely alien to us.

- Karl Ove Knausgård

The Pillar / Winner of the 2019 Les Rencontres de la Photographie author book award.

Signed copy.

Out of print, 1st edition/printing.

• Self 2017
  
• Hardback, 1st edition
  
• New
  

“Enclosed between four walls, the sound of silence never seemed louder. It’s claustrophobic. I wait for the phone to ring, check for emails obsessively, eat everything out of the fridge. The hunger remains. I feel like if I dig my hand deep into my soul, I will find nothing. The awareness I am experiencing is unspeakable. Faces change when we meet. Is their solitude reflected in mine? There is an awkward silence.” Laura El-Tantawy. 

Beyond Here Is Nothing is a photo-book object meditating on home. A place of belonging, a tranquil state of mind; a nostalgic memory or an imaginary destination – home is a perpetual possibility El-Tantawy is journeying to reach. Her personal experience growing up in contrasting cultures is the window to an intimate and emotive visual exploration of the unsettling feeling of rootlessness, the mental burden of loneliness and the constant search for belonging in unfamiliar places. Drifting between the physical and the whimsical, the book reveals itself through layers of images and words. A mirror of dispositions. A living object harmonizing with time.

One publication consisting of three interwoven volumes opening in three directions. Books hand sewn and bound in hard case with Wibalin cover.

Edition of 500 signed and numbered copies.

Out of print, last few copies.

Video courtesy of Laura El-Tantawy.

• Hey Little Heroes 2020
  
• Hardback, 1st edition
  
• New
  

Shore - Photographs From The Essex Coast features landscapes, portraits and still lives shot between 2017 and 2019.

Signed copy.

• Nobody 2017
  
• Hardback, 1st edition
  
• New
  

In March 2014, my family and I moved from east London to rural south Sweden where my partner Lena is from. I understood that these new surroundings would inform my work in very different ways and that nature would play a key role. I was looking forward to making work that did not feel restricted and suffocated by modern photographic technology nor would make an inaccurate projected impression of the natural landscape we had become part of. 

On my many walks, I soon came to realise that this new, apparently bleak, flat and open landscape was in fact teeming with intense life. Small clues appeared during daylight hours that helped me understand the extent of activity during the night. Clusters of feathers, animal footprints of all sizes showing regular overlapping routes, gnawed branches, eggshells, ant hills, nibbled mushrooms and busy snails and slugs working through the feast provided from the previous night

I started to imagine the creatures in absolute darkness on the forest floor driven by instincts and their will to survive. I imagined them encountering each other. I thought of their eyes – near redundant in the thick of the night – and their sense of smell and hearing finely tuned and heightened. 

Envisaging where this activity might unfold, coupled with a hopeful foresight, I placed cameras equipped with motion sensors, to trees, mostly at a low level, so that any movement triggered the camera shutter and an infra-red flash (which was outside the animals’ visual spectrum). 

The first results filled me with fascination and joy as they presented what felt like stepping off into another parallel and unearthly world.  The silent photographs also seemed to invent sounds. This frame of mind and way of working took me back to my first ever photo project at the age of 13, sitting in the bathroom window of my parents’ house in Bristol with a 10-metre cable release, attached to the camera, attempting to photograph garden birds.

As time went on I started to think, if I were a deer where would I drink from, or if an owl where would I prefer to perch, and positioned cameras in such places. I was already composing the rectangular view in my mind’s eye – even though the nocturnal animals were absent – imagining they were there.  Nature itself helped to decide the palette and the feel of the images as plant pigments were incorporated from the surrounding areas to make the final master prints.

I had grappled for many years with this idea of stepping back as the author of images to give space for chance and to encourage the subject to step forward. I had attempted this in various ways; for example, in 2005, by burying colour prints close to where they were made, as a collaboration, to entice the place itself to leave its physical mark on the images once they had been unearthed. Or, between 2009 - 2013, in the series Talking to Ants, I placed objects such as plant life, insects, seeds and dust from the place I was photographing inside the film chamber to create in-camera photograms creating a confusion of scale. Or, in 2012, in Best Before End, as a photographic response to the rise of high-energy drinks, I used the drinks themselves to part-process the film as they ate into the emulsion. These approaches added an element of uncertainty, without knowing exactly where the images would land, and relied on a point where intentions met chance with the hope that the subject itself could play a part, lead the way or become embedded in the finished images.

This time, though, it felt as if I was stepping out altogether, so that the subjects would orchestrate and perform and take on the role of author while at that moment I was likely to be sleeping. This was nature’s time to speak and let itself be felt and known. 

Stephen Gill


Signed copy.  Recommended.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

The Amazon is much more than a river. It is the visible appearance, infinitely rich in analogies, of the reality of things. This seems obvius, when poetic languages intervenes to describe reality, the latter loses its documentary sharpness and is converted into a creative fantasy, especially in the specific sense that the river embodies the ironic and sombre essence of the universe.

I have contemplated this river and its affluents in small doses, and small steps, because like a bashful child, it only showed its epidermis; this I found irritating.

But traveling so sedately meant that all that surrounded me remained hidden until the river itself disgorged all its "splendours" along its various stretches: globetrotters, beggars, preachers, drunken aborigines, ruined foremen, minor politicians, lumberjacks, monks, soldiers, melancholic prostitutes... I find it strange that the beautiful image of this river, is in reality a beautiful imperfection. And Fordlândia, Henry Ford's attempt to transform the jungle into a fantasy of the american Mid West, is the perfect imperfection: a perfect failure of the American Way of Life.'

- JM Ramirez-Suassi

Edition of 350 numbered copies.  Signed copy.

• Self 2019
  
• Hardback, 1st edition
  
• New
  

"In 1985 I published the book Halland, 1932-1982. It was a re-photography project about Halland, in the Southwest of Sweden, where I grew up.  This was once the poorest part of Sweden with farming and fishing as the main source of income, but in  the twenties the landscape was reshaped by power plants and dams when growing industries needed more electrical power. 50 years later, in the eighties, when I followed in the tracks of Swedish photographers Mårten Sjöbäck and C G Rosenberg the area had settled into a quiet and prosperous part of Sweden. However, soon after the book was published the wind industry entered the landscape. At first with small wind turbines, usually owned by local farmers, and gradually growing into larger wind turbine farms run by investors and electrical companies. Many of the early wind turbines, in the coastal region, has now been dismantled and has been replaced with big farms in the forest, and mountain, landscape in the inner of Halland. My pictures were made from 2015 to 2019. This is mainly a book about the nature and the landscape of Halland. Inspired by the poetic words of Mårten Sjöbäck ringing in my ears.

The sky throws a vault over Halland
which often raises smallness
and mediocrity to monumentality
and lends to the little the measure of greatness.

Mårten Sjöbäck, 1931

Limited edition of 1000 copies.

Signed.

• Self 2019
  
• Hardback, 1st edition
  
• New
  

Delightful small book featuring some of Koji Onaka's memorable photos of cats from around the world.

Signed copy.

• Self 2019
  
• Hardback, 1st edition
  
• New
  

The third and final installment in Koji Onaka's Slow Boat series.

Signed copy.  Recommended.

• Nobody 2010
  
• Hardback, 1st edition
  
• New
  

Coming up for Air is the result of a long-term photographic body of work made in Japan between 2008 & 2009 over the course of three visits to the country. Though the images were made in Japan they are not essentially about Japan and are more of a reaction to my life in London at the time.  Unlike the other more descriptive photographic series I had made, this time the information in the images has been starved or almost in some cases completely denied, like muffled sounds when swimming beneath water. A fictional aquatic world as if viewed from the other side of an aquarium looking outwards. The series is more of a reaction to the modern world rather than an attempted description of it.

• Self 2016
  
• Softcover, 1st edition
  
• New
  

Ceremony is the second book by Alasdair McLellan, following Ultimate Clothing Company released in 2013. It celebrates the ceremonial troops of the British Army; featuring The King Troops Royal Horse Artllery, The Coldstream Guards and The Household Cavalry which unlike in many other countries have a long history of combat rather than simply ceremonial duties. This publication coincides with the photographer’s first collaboration with these troops for a feature in Arena Homme Plus magazine in August 2006 and continues to be one of McLellan’s most cherished photographic projects. Produced in a limited and numbered edition of 2000 copies by Paris based designers M/M. All publisher’s proceeds from this book will go to the ABF, The Soldier’s Charity which supports thousands of British soldiers, veterans and their immediate families.

Edition of 2000 numbered copies.

• Self 2019
  
• Softcover, 1st edition
  
• New
  

New limited editiion publication published to commemorate   Gerry Johansson receiving the Lars Tunbjörk Foundation Prize 2019. The photographs of Borås  (Lars Tunbjörk home town)  were taken in 1997 and in 2019.

Edition of 350 copies.

Signed copy.

• Self 2019
  
• Hardback, 1st edition
  
• New
  

"Americans Parade is a parade of Americans. One after the other, from one community to the next, building up a picture of Americans in the United States in 2016, the year Donald Trump was elected, a year when Americas division have never been more pronounced.

I have visited the United States several times over the years and outside of the biggest cities, I would see very little street life and have no reason to stop; I would only know of a place by it’s reputation, it was like the local community was invisible.

The idea for the work came about when I went to a Martin Luther King parade in a neighbourhood I had been to before. Unlike my first visit, when the streets were empty, the streets were suddenly alive, full of people, families, movement and a sea of sound, a complex community was suddenly visible.

In 2016, I decided to criss-cross the country looking for parades that covered many of the different American demographics. The NYT’s magazine liked the idea and supported me throughout, publishing the work on the weekend of Trumps inauguration.

Throughout the year I visit 26 parades, in 24 cities across 14 states. From the very first parade, my visual approach was simple and deliberate. Moving alongside the parade I would follow the route, waiting for a clear view to photograph a section of the crowd  on the other side.

I would look at the landscape and the overall composition, at groups that caught my attention, at fleeting moments, but I also embraced the generosity of the camera, it’s ability to record and freeze more than I could register. The crowd gives the photograph that element of chance, to create itself. 

The details become important. A sea of faces, expressions, postures, gestures, a look, a touch, alongside, fashions and social behaviour and interactions. A narrative full of complexities and ambiguities, like a series of modern day tableaux.

Although much of America is segregated and separated by race or income, and this difference is exploited as a means to polarise and divide, it is far too simple to define a community through this narrow identity. What I have attempted to do is create a group portrait of multiple identities, where people stand together, in a company of strangers."

Americans Parade has an introduction by David Campany and a short story by Vanessa Winship.

"Although it is not possible to be as indifferent and mechanical as a camera, it is possible to place an image before a viewer as an invitation to look and think; an invitation to measure it carefully against one’s own experience and judgment, to confront one’s preconceptions, to conclude anew or to leave matters open."              

- David Campany from the book introduction.

Shortlisted for the Paris Photo Aperture Best Photobook Award 2019.  

Signed copy.

• Ugly Dog 2018
• Hardback, 1st edition
  
• New
  

The third book from SWEET LIFE, following 'Life is Elsewhere' and 'A Proposition For Departure' finally closes the entire work completely. While 'Life is Elsewhere' was an autobiographical journal full of doubts and hesitation, 'Look It's Getting Sunny Outside!!!' chapters the confrontation with reality that follows the preceding doubt. 'Over the years when my mother’s condition started to improve I started to photograph at home more. Apart from my mother the focus of the photographs also included her dog Elsa who had been her sole companion at home for many years and also the house itself whose condition deteriorated or improved as my mother’s illness regressed or progressed. Her relationship with Elsa which had substituted intimate human contact as simple as touch or conversation all these years, had played a big part in my mother’s improvement. In the late winter of 2014 Elsa died having grown old in her 13th year. That winter was a strange one because for the first time it had rained everyday and the sun wasn’t seen on most days. Towards the end my mother had even opened up to my father with whom she had separated almost 15 years ago. It was her separation with him that had triggered her illness in the first place.'

Last few signed copies.

• Self 2018
  
• Hardback, 1st edition
  
• New
  

• Self/Lyre 2016
  
• Hardback, 1st edition
  
• New
  

In the series Lotus, Max Pinckers and Quinten De Bruyn document the world of transsexuals in Thailand. The gender crisis that the so-called ladyboys face is transformed into a visual metaphor about the identity crisis that contemporary documentary photography currently encounters, when it dares to reflect upon itself critically, and confront its paradoxes. The documentary photographer that captures reality as ‘a fly on the wall’ can’t deny his or her directive and manipulative role any longer. The anonymity, the seeming absence, is merely a pose. The tableaux that the photographer captures are not lies, but enfold themselves within the studio that he or she creates from reality.

Edition of 3000 copies.

• Nobody 2014
  
• Hardback, 1st edition
  
• New
  

The series Best Before end is an attempt to make a series of images that somehow reflect and encompass the intensity of inner city life through not solely exercising photography to depict a chosen subject, in this case part of the image content itself plays a role in creating the images making a more direct physical presence in the image itself. The images were made in East London from where the drinks were also sourced. The colour negative films were part processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. The softening allowed for manual stretching, moving, tearing and distortion of the layers of film emulsion to take place, and further manual shifts were added with a soft brush whilst the emulsion was still pliable. 

- Stephen Gill

• Self 2020
  
• Hardback, 1st edition
  
• New
  

"I've never hit an animal while driving before. Neither a dog, nor a fox, nor a hare. Not even once for 20 years a bird smashed into my windshield. And, suddenly, "boom"! Smack after smack, a dozen, if not dozens of bird bodies drop beneath the dust of cloud on a gravel road. First time in my life, here in Kazakhstan. Then the second, third, until it became a common sight. I saw tiny sparrows, number of large birds, also giant eagles laying down. It certainly wasn’t a coincidence. It's a collective suicide!"

I set off on my trip through Kazakhstan and Kyrgyzstan. No specific destination, no marked points on the map, no arranged accommodation. The goal was to be on the road. Curving around mighty Altai and Tien Shan mountains, surrounded by incredibly blue lakes, or simply running straight across boundless steppes. People accidentally met on the road were also the aim. Kind and hospitable like nowhere else, but also proud and raw, shaped by the hardships of communist era. Finally, the goal was to spend these few months behind the wheel, to fulfil the childhood dream of being on the road. So that I could make the time stop. So that I could capture everything I saw in a book.

Photographs and poem © Sebastian Rogowski

Edit and sequencing: Rafał Milach

Book design © Ania Nałęcka / Tapir Book Design

Edition of 500 copies

• Self 2020
  
• Hardback, 1st edition
  
• New
  

New book featuring an evocative series of Night photos by Jan Töve.

Edition of 600 copies.

Signed copy.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

Small book by Koji Onaka featuring a set of coloured vintage photographs.

Edition of 500 copies.  Signed copy.

• Self 2019
• Hardback, 1st edition
  
• New
  

“Ok, so The River’s Suck is this sort of Lynchian ‘Landscape Noir,’ where casual observations and broken thoughts, gathered during a walk along a local river fining down after an end-of-winter flood, have been re-imagined into a kind  of ambiguous environmental parable. Some kind of cryptic allegory on the invisible liquid of life, oxygen, and it’s presence and flow through everything: water, air, land, bodies. A lead metaphorical role is played by the ubiquitous discarded plastic bottle; an organic looking item of litter that looks like a stranded fished that has drowned in air, its impermeable skin preventing any natural recycling and return to the landscape it had been floating through. It’s seeing the global or universal in the local and mundane. Images of the type of things that often subcontiously catch  the eye are made obvious, made to detour the intellect and simply speak directly; thought triggers like lines of lyrics making a song.”   - Mark Mattock

The River’s Suck is Mattock’s fourth self published work in his unique post pastoral visual language.

Signed copy.

• Self 2019
  
• Hardback, 1st edition
  
• New
  

'A Star in the Sea is an overture for embracing the unexpected. The photographs, text & title pertain to three independent, personal life events: A love story; my first & only trip to my place of birth in the UK & a vision on a beach in Italy. It is inspired by a desire to redefine my relationship with the ideals of success & happiness. In this context, A Star in the Sea is an opportunity to celebrate imperfection — an artistic gesture to have faith in the Universe.'

- Laura El-Tantawy


The book is conceived as an artistic object demanding intimacy — something you want to protect & treat with care. Each book comes in a custom handmade Batik pouch made by the artist in collaboration with her mother.

Signed & numbered edition of 150 copies.

• Self 2018
  
• Softcover, 1st edition
  
• New
  

Limited edition book featuring 48 photographs of Härryda kommun taken from 2015 to 2016.   All text in Swedish.

Limited edition of 500 copies.

Signed copy.

• Self 2018
  
• Hardback, 1st edition
  
• New
  

• Self 2018
  
• Softcover, 1st edition
  
• New
  

In an old joke from the defunct German Democratic Republic, a German worker gets a job in Siberia; aware of how all mail will be read by the censors, he tells his friends: ‘Let’s establish a code: if a letter you get from me is written in ordinary blue ink, it's true; if it's written in red ink, it's false.’ After a month, his friends get the first letter, written in blue ink: ‘Everything is wonderful here: the shops are full, food is abundant, apartments are large and properly heated, cinemas show films from the West, there are many beautiful girls ready for an affair — the only thing you can’t get is red ink.’ – Slavoj Žižek, Welcome to the Desert of the Real, Verso Books, 2013

In August 2017, at the height of tensions and the looming possibility of a nuclear war between the U.S. and North Korea, Max Pinckers traveled to Pyongyang on an assignment for The New Yorker together with his assistant Victoria Gonzalez-Figueras and American journalist Evan Osnos. During the four-day trip, they were strictly monitored and guided by government officials at all times, with every location diligently prepared before their arrival.

Knowing that it would be impossible to reveal the reality behind the regime’s facade, Pinckers applied an aesthetic that refers to state propaganda and advertising, by using bold artificial lighting. This subversive approach reveals that these images are conscious of their own deceptive nature – lies that make us understand the truth – that we are looking at a manufactured version of reality according to the Kim regime.

Winner of First Prize at the Leica Oskar Barnack Award 2018

Signed copy.

• Self 2018
  
• Hardback, 1st edition
  
• New
  

• Self 2016
  
• Softcover, 1st edition
  
• New
  

An eloquent exploration of Los Angeles in this understated photobook. 

Trade edition of 300 copies, design by SYB featuring multiple inserts.

Recommended.

• Self 2015
  
• Hardback, 1st edition
  
• New
  

In the first instance, ‘Body of Work’ is about the orchestrated process of horse breeding. But, as I wriggled through the months of scrutiny, amidst the rawness of procreation, I became aware of a common anomaly in the mares being served. I came to recognise, in one mare after another, an anthropomorphic capacity to reflect. Through mournful eyes, they would make known an understanding of their peculiar predicament.

• Self 2015
  
• Softcover, 1st edition
  
• New
  

Control is a visual investigation about the emancipatory potential of non-documentary image added to the sequencing, within a controlled system throughout its structure. It is also a critique of the role of photography in sustaining that system
 
Project carried out under the influence of texts by Jean Baudrillard, Gilles Deleuze, Felix Guattari, Didi Huberman, Remedios Zafra or Hito Steyerl, as Techno music and songs of the first slaves in America, constructivism and concrete art, or work of artists like Julian Baron Oscar Monzón, Alejandro Marote, Paul Graham and Miren Pastor.

Unusual vertical format book exploring the sequencing of imagery.

• Self 2014
  
• Hardback, 1st edition with print
  
• Fine
  

“Andy Sewell’s photographs are clearly a record of the countryside. But his pictures are about something less obvious: the redundancy of the ideas we have about the pastoral when they come up against modern life. As a knitting together of the artificial and unmade, the English countryside is a perfect expression of our unstable world. Sewell shows us a landscape governed by forces beyond individual or collective control. He doesn’t mind if we are provoked. He’s happy to make us laugh. There isn’t something he needs us to believe. He doesn’t want to shatter our illusions, merely quieten them – to allow us to see the complexity of what’s before us.”

Special edition of 100 copies, each with a 10"x8" signed and numbered print (bird in hand image).   Unopened since signed by the photographer.   Missing perspex case.

• Self 2014
  
• Softcover, 1st edition
  
• New
  

Will They Sing Like Raindrops or Leave Me Thirsty focuses on honour-based violence in India; in particular, the attacks on women and men who fall in love, or have a relationship against their family’s will. Honour-based violence used to be limited to rural areas, but it is expanding into large cities due to the rise in extreme religious and political groups. One organisation fighting this violence is the Love Commandos, a voluntary group that originally formed to protect couples who celebrate Valentine’s Day from attack by extremists.

"In Max Pinckers’ brilliantly rendered photographs, all the world’s a stage and Pinckers is the stage director. But like the best theater, what matters in Pinckers’ pictures isn’t the technique behind the theatrics, but the comic drama of humanity." - Alec Soth

Edition of 1000 copies.   Highly recommended.  Out of print.

• Self 2013
  
• Hardback, 1st edition
  
• New
  

'In the Box’ is a unique and compelling collection of images from the world of Subbuteo, an iconic 80’s/90’s miniature football board game. The project, launched in 2010, has taken Tom Groves and his camera across Europe, visiting some of the major tournaments and capturing a series of images with illuminating clarity and humour which brings the sport to life in spectacular fashion. The photos guide us through the bizarre yet fascinating oddities of a sport that many people thought had died. Included in the book are images of euphoria, passion and dedication as well as quotes from the world’s top players, each providing a personal insight into why Subbuteo means so much to them. The final section of this artist book, printed on a different paper stock pays homage to the childhood game ‘Top Trumps’ and idolises a range of players from the European circuit.

‘In the Box’ is an edition of 1,000 copies and was funded through Kickstarter where nearly 300 copies were pre-ordered earlier this year. Also available are 11 special editions which feature a signed copy of ‘In the Box’, a hand-painted ‘World All-Star’ Subbuteo figurine, a 'Team Edition' of the Subbuteo game and an editioned pigment print, all of which will be housed in a bespoke clamshell box (please email to enquire and order). Printed by the world renowned EBS print house in Verona, Italy, the book, designed by Studio Thomas, features a silk screened hardcover which is wrapped in a flocked material, replicating the feel of a Subbuteo pitch.

Elegantly presented self-published book. Signed copy.

• Self 2012
  
• Hardback, 1st edition
  
• New
  

Rays of bright March sunshine beam into a long forgotten plantation situated somwhere between suburb and National Trust. Sap rises in neglected adolescent wood : nature's party time. Deer tracks creep through the new heathen grove imagining some aftermath of a night before, the deeper and darker wood temporarily banned...

Spring in the Temple of Plastic Pillars is a protrait of an English wood. It is a first release from an album about The English wood. In as much as it is a simple visual documentation of a physical space, it is equally an invention, or revelation, of a unique other space imagined through observation. Describing this particular wood as it was experienced when first discovered and the imaginations evoked whilst wandering around it. Layered with multiple interpretations it describes a piece of land that would be recognised by the naturalist for it's wildlife potential, but avoided by the suburban dog walker with suspicion, a hidden corner inviting refuge for 'feral' youth and opportunity for their indulgences. In reality, however, it goes almost unnoticed. It is, of course, a private enclosure. A space where the previous use has been tidied over with the creation of a wood that has, through negligence, already grown to become a 21st century incarnation of the omnipresent 'wildwood'.

First edition of 500 copies.

• Nobody 2005
• Hardback, 1st edition
  
• New
  

Hackney Wick sits in east London between the Grand Union Canal, the River Lea and the Eastway A106. Stephen Gill first came across the area at the end of 2002 when he was photographing the back of advertising billboards. His first visit was on a Sunday, to the vast market that used to take place in the old greyhound/speedway stadium. At first glance, apart from few pot plants, most of the items on sale looked like scrap, exhausted white goods, mountains of washing machines and fridges, copper wire and other metals stripped from derelict buildings, piles of old VHS videos. Stephen bought a plastic camera for 50p. It had a plastic lens and no focus or exposure controls, and he started making pictures with it at once. Over the next two years he visited Hackney Wick again and again. The market closed in July 2003, and the remains of the old stadium were demolished weeks later as part of the preparations for the 2012 Olympic Games.

Pristine sealed copy.

• Nobody 2007
• Hardback, 1st edition
  
• New
  

In Hackney Flowers Stephen Gill has again used his east London surroundings as the inspiration for his work. This time he has collected flowers, seeds, berries and other objects from various locations in Hackney, pressed them in his studio and photographed them alongside his own photographs and found ephemera. Some of the base photographs were also buried in Hackney Wick, and the consequent staining and decay has left its imprint upon the images, stressing the collaboration with place. A parallel series within the book shows members of the Hackney public with floral details imposed upon their person.

Signed copy.

• Nobody 2007
• Hardback, 1st edition
  
• New
  

A poetic, sometimes eerie and quiet photographic study of a place in a state of limbo prior to the rapid transformation that the Hackney area faces during the build-up to the Olympics in 2012.