Self-Published

• Self-published 2021
• Hardback, 2nd edition
• New

January 25th, 2021 marks 10-years since the spark of the Tahrir Square protests that unseated former Egyptian President Mohamed Hosni Mubarak. On this occasion, I am releasing a newly edited & redesigned version of In the Shadow of the Pyramids. This release engages the original photographs in a new framework — upholding the historical prominence of the imagery while meditating on the paling memory of the revolution. 

In the Shadow of the Pyramids 2.0 is not a book I anticipated making.
It was born out of a sense of responsibility to honour my role of bearing witness to, and visually chronicling, one of the most important chapters in modern Egyptian history. This is coupled with a fervent necessity on my part as an Egyptian to conserve the memory of those life altering events and ensure they remain alive in our conscientiousness as Egyptians and compassionate world citizens. 

The 10-year anniversary edition stays true to the size and material architecture of its older sibling. However, reflecting the traces of time, its inside pages have undergone a radical transformation. In the Shadow of the Pyramids 2.0 tells a story reminiscent of the impact the past 10 years have had on the narrative around the revolution and the emotional toll this imposes on the reading of the imagery.

Edition of 500 copies. Hardcover with debossed title on front & back
Printed on uncoated paper / 449 pages with 101 fold outs.

In stock now.


Book images courtesy of Anke van der Schaaf / FopmaWier boekbinderij

• Self-published 2020
• Softcover, 1st edition
• Near fine

"She told me she was the daughter of a farmer from an Island I visited a long time ago.

Sometimes meetings are short, intense, sometimes they last a lifetime.

What is it to be invited into a diary, to be offered a key to unlock what lies within? Long memories triggered by each lived moment, if shared, to know and understand that we are not alone. Sometimes we know where and when.

Her silent footsteps tread upon a shabby red carpet. She scans what lies before her, stopping just long enough to make a single frame and move on.

With tenderness she looks up to take in a string of fragile paper lanterns along a corridor we don't know where it’s leading. Always walking.

What is it to know joy on seeing the free movement of the figure as it glides so effortlessly through water, sound muted by its vast expanse that surrounds and supports it? Only once does the figure come up for air.

What is it to appreciate the sensation of a retreating tide? To silently observe a solitary figure who seems feeling and measuring the air.

Who is the woman who patiently waits for her to catch up, catch up at the pace of the human heart?

Always walking.

What is it to feel the sensation of mist as she steps upon the earth so close behind her sheep, or to see her own breath as she moves long a car-less snow-covered road?

Along these tracks and pathway there’s always light.

Sometimes a flood of artificial light that renders expressionless the figures that move within it.

A dog instinctively slips into the shadows. But more often it’s the light cast by the moon, or the light when day becomes night or night day.

She follows those figures, first at proximity, and then a little further away, less sure, still she stays, and still she follows.

These are moments of a certain kind of solitude that still manage to find a connectedness.

Always walking always walking." 

- from the accompanying text by Vanessa Winship

Self-published handmade trifold book which consists of three booklets stitched on the cover. Printed on offset Lithoprint by Pureprint printers using vegetable based inks.

Book opens to 21 x 88.8 cm. 2,197 possible combinations of images (thirteen to the 3rd power).

Numbered edition of 800 copies, signed. 

• Ugly Dog 2020
  
• Hardback, 1st edition
  
• New
  

'‘Be careful’, my father had written to me, ‘It’s supposed to be unsafe out there’, words interspersed with photographs from the cargo ship that he was working on as he made his way up the Mississippi river to the port right outside New Orleans. The immigration rules did not allow him to step on American soil and he had no choice but to remain on his ship. His short-lived glimpse of the country had remained only within those raised embankments on either side of the river. The America that lay on the other side was something he could only make sense of through a trickle of news and opinions that he had been heard from a distance. Guns, Violence, Racism, Trump, A certain loss of Tenderness...

A couple of months later I made the journey on road down the delta from the confluence of Ohio and Mississippi rivers outside Cairo (Illinois), to Pilot Town, off Highway 23 that went further down from New Orleans. It was near here that the river opened into the sea and was the entry point into this part of the country for all ships including my father’s.

As it had been for sailors searching for land, birds now became my guides as I looked for the beginnings of water, leading me through the blues of the wetness of the land. The America I found on the way was not quite the same as the one that my father had imagined.

Just as it had been with my father, there was always a levee between the river and me as well. My father had been on water but had not been able to touch land. I was on land but had barely been able to touch water. Together we got a glimpse of the delta from our own sides of the levee.'

— Sohrab Hura

Edition of 600 copies.  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.

• Nobody 2020
  
• Hardback, 2nd printing
  
• 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.

2nd printing.  Signed copy.

• Nobody 2007
• Hardback, 1st edition, 114p
  
• 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.

• 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 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.

• Self 2020
  
• Hardback, 1st edition
  
• New
  

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

Edition of 500 copies.  Signed copy.