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Picture of Theater of Love

Publisher's Description

The series consists of around 100 photographs taken around the year 1965, when Araki was working at advertising giant Dentsu. The photos, first shown at an exhibition at Taka Ishii Gallery in February 2011, are presented as a postcard-sized book, hidden in a Fuji photographic paper box replica, the same way Araki discovered his old prints.

“I’ve found a cabinet box, labelled “Theater of Love”. Opening it, there were about 150 prints inside. They must have been taken around ’65, back when I was clicking away on an Olympus Pen F, experimenting with thermal development, fooling around with printing and film developing techniques. The photos are a record of me, the women and the life and the places of that era. Seems like I called them “Theater of Love” in those days. But either way — good stuff. Good photos. You can’t get this with digital.”
— Nobuyoshi Araki

Publisher: Case Publishing

Size: 180 x 133 mm

242 pages, 119 images

Language: Japanese

Limited Edition: 1000

Nobuyoshi Araki
The series consists of around 100 photographs taken around the year 1965, when Araki was working at advertising giant Dentsu.
£60.00

Picture of Selfpolaroids

Publisher's Description

selfpolaroids is a special box set, bringing together 32 large format postcards of the artist's polaroid selfies (4C), 1 book of Tokyo Rumando's new Peel Apart series (24 pages, 4C), and a sealed pack of the artist's personal belongings or stage props (unique to each box) all housed together in a luxurious printed clamshell box.

Please note: the vacuum-sealed personal belongings included with each copy of selfpolaroids are one-of-a-kind items. Please see the gallery above for three examples of items included with each box.

"I was a highschool student when I first got the polaroid camera. It was a fun gadget to play with friends, as it could quickly capture the moment.
This box set includes a selection of my polaroid works from 2005 until now.
I used to use the polaroid camera to do testing for my self portraits.
Polaroids are like a documentation of reality for me, as I make works that interconnect the present, past, and future.
When I look into their unique colours, I can see many beautiful colour particles like the universe - it gives me an unexplainable sense of exaltation."

― Tokyo Rumando

Publisher: Zen Foto Gallery

Size: 220 x 40 mm

24 pages

Polaroid photo cards

32 cards (colour print with UV screen thick varnish)

Including vacuum-sealed personal belongings by the artist

Colour photo booklet

Language: Japanese, English

Limited edition: 700

Tokyo Rumando
New, signed, limited edition, including unique personal items
£60.00

Picture of Neither Here Nor There

Publisher's Description

poems by Walt Whitman, "Leaves of Grass"
No Small Lives - an infinity of moments, essay by Robin Titchener

"Neither here Nor There" is a conversation about seeing the moments between moments.

"It is these quiet moments that Dennis Neal Vaughn specializes in. Traversing the streets and surrounding countryside of his adopted San Francisco, he photographs what he knows and what he sees with eyes that are open and sensitive to all manner of the beauty that surrounds him." — Robin Titchener

Size: 8.5 x 8.5"

102 pages, 77 color plates,

Limited edition of 100
First edition of 100 signed and numbered with an original archival pigment print included exclusive to the book.

Dennis Neal Vaughn
"Neither here Nor There" is a conversation about seeing the moments between moments.
£20.00

Picture of ToiletMartin PaperParr Magazine | Collector's Edition  (Signed)

Publisher's Description

'ToiletMartin PaperParr' is a new, special edition of 'Toiletpaper' that presents a back-to-back of images made in collaboration with Maurizio Cattelan and Pierpaolo Ferrari on the one side and Martin Parr on the other.

'ToiletMartin PaperParr | Collector's Edition' limited to 1000 numbered copies, includes the magazine and the 'ToiletMartin PaperParr' bag printed on the two sides with the front and back cover of the magazine.

ToiletMartin PaperParr Magazine' is a new, special edition of 'Toiletpaper' published by Damiani. This unique edition celebrates a new suite of pictures presenting a back-to-back of images made in collaboration with Maurizio Cattelan and Pierpaolo Ferrari on the one side and Martin Parr on the other.

The recipe is very tasty: the founders of 'Toiletpaper' hosted Martin Parr as a special guest and asked him to form a dialogue with 'Toiletpaper' images, coming back to them with a photograph from his archive for each image. The result is a rapid succession of images in which irony, subversion and provocation force the viewer to the impelling discovery of the next pair of images.

And if you are not yet satiated by the end of this issue, you have only to start once more at the beginning.

About Toiletpaper Magazine

'Toiletpaper' is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, 'Toiletpaper' has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Publisher: Damiani

40 pages, 22 illustrations

Martin Parr, Maurizio Cattelan and Pierpaolo Ferrari
Collector's Edition of 1000 numbered copies plus the exclusive 'ToiletMartin PaperParr' bag printed with the front and back covers of the magazine on the two sides.ToiletMartin PaperParr Magazine | Collector's Edition Martin Parr, Maurizio Cattelan and Pierpaolo Ferrari
£40.00

Picture of Koan

Publisher's Description

Koan is the possibility to open up the territory of pre-verbal.

As human beings, our reality based on symbolic matrix, so all possibility of our thoughts and wisdom be covered and limited by signifying chain. Only vision as a product of the non-material is closer to a concept of purity, so through photography as my own philosophical approach, I try to explore beneath the surface of things by simpli cation and abstraction to awaken spiritual awareness and intuition before the symbolic.

As Eastern philosophies, Tao and Zen always advise people to stay absolutely quiet and purify thought processes. In order to achieve this goal, our attention should focus on the most basic form of the universe’s existence. In Zen Buddhism, Koan is a story or riddle used to help in the attainment of a state of spontaneous re ection, free from planning and analytical thought. In contradiction to Western philosophy, Koan’s emphasize the inadequacy of language and words, and the importance of intuition over reason and logic, to transform the self.

I named the series as “Koan”, and selected abstract landscape photographs to do photo-etching process; the results of this craft are poetic and full of imaginations. Also only uses black ink and print on di erent Japanese papers, the color is deriving from the atmosphere of desolation and melancholy and the expression of minimalism in ancient Chinese poetry and monochromatic ink painting.

Publisher: Jiazazhi Press

Size: 260 x 90 mm

Traditional Chinese binding, 44 folds

First Edition: 500

Chen Xiaoyi
Koan is the possibility to open up the territory of pre-verbal.
£50.00

Picture of Gunnar Smoliansky Diary (Signed)

Publisher's Description

Gunnar Smoliansky is a major Swedish photographer. He has devoted himself to photography since the early 1950s. Smoliansky has been an independent artist since the 1970s. Gunnar Smoliansky works exclusively in black and white and throughout his career, he has transformed his photographed motifs into completed photos in the darkroom. Stockholm is the main focus of Smoliansky’s photographic world, particularly the areas of Södermalm and Saltsjö-Boo. From a geographic point of view, the photographs of Gunnar Smoliansky are quite restricted in range. This has not, however, kept him from being regarded as one of the great world photographers.

The images in Gunnar Smoliansky Diary are a selection of the material Gunnar began to work with and to print methodically during the 1980s. Some of the material was also exhibited at the time – at Moderna, Lunds Konsthall, and galleries including Babar and Lido. These prints that consolidated his position as a major photographer.

The book consists of 172 images and an essay by Johanna Ekström. A major part of the images has not been published before.
Gunnar Smoliansky Diary is edited by Gerry Johansson and Jäger Arén.

The book is printed in an edition of 1350.

Publisher: Johansson & Jansson

Size:186 x 245 mm

204 pages Binding Hardcover

Gunnar Smoliansky
The images in Gunnar Smoliansky Diary are a selection of the material Gunnar began to work with and to print methodically during the 1980s.
£48.00

Picture of Opening (Special Edition)

Publisher's Description

A special edition of 25 copies featuring an exhibition quality original print handmade, numbered and signed by the artist, and presented with a copy of the book in a custom clamshell box.

Following up on her widely-acclaimed book Everglades, published by Nazraeli Press in 2016, Jungjin Lee has created a true artist’s book with this series of desert and mountain landscapes entitled Opening. Made in some of her favorite places in Arizona, New Mexico and Canada, these images inspire a sense of the deep and quiet interaction between the beholder and the landscape, and the physical presence of earth, stone, tree and sky.

Limited to 2,000 slipcased copies, Opening features an accordion binding which creates two back-to-back panoramas each measuring some 11 feet long when fully spread out.

Publisher: Nazraeli Press

Size: 400 x 200 mm

56 pages, 28 duotone plates

Jungin Lee
A special edition of 25 copies featuring an exhibition quality original print handmade, numbered and signed by the artist, and presented with a copy of the book in a custom clamshell box.
£1,100.00

Picture of Opening

"What a gorgeous piece of art that production is, thanks" (Graham Lowe, customer)

Publisher's Description

Following up on her widely-acclaimed book Everglades, published by Nazraeli Press in 2016, Jungjin Lee has created a true artist’s book with this series of desert and mountain landscapes entitled Opening. Made in some of her favorite places in Arizona, New Mexico and Canada, these images inspire a sense of the deep and quiet interaction between the beholder and the landscape, and the physical presence of earth, stone, tree and sky.

Limited to 2,000 slipcased copies, Opening features an accordion binding which creates two back-to-back panoramas each measuring some 11 feet long when fully spread out.

Publisher: Nazraeli Press

Size: 400 x 200 mm

56 pages, 28 duotone plates

Jungjin Lee
Following up on her widely-acclaimed book Everglades, published by Nazraeli Press in 2016, Jungjin Lee has created a true artist’s book with this series of desert and mountain landscapes entitled Opening.
£54.00

Picture of Good Goddamn
 (Signed)

2nd edition, October 2018

Publisher's Description

Good Goddamn is a short photobook about a man from rural Texas and his last few days of freedom before going to prison.

First edition limited to 750 copies.

Size: 9x12"

44 pages. 27 duotone reproductions on Mohawk Superfine uncoated paper.

Bound with carton staples.

15x20.25" foldout poster included. ISBN 978-0-692-94637-4.

Sample images

Bryan Schutmaat
Good Goddamn is a short photobook about a man from rural Texas and his last few days of freedom before going to prison.
£35.00

Picture of Self/Portrait Artists’ book (Signed and numbered
)

Publisher's Description

Teresa Eng spent time as an artist in resident in China in 2012 and 2015, observing the rapid development the cities and its surroundings.
In “Self/Portrait”, Teresa presents portraits of Chinese millenials that she approached in a shopping centre alongside one of their selfie from their mobile phone. The portraits, introspective by nature, are lit by the bright LED advertisements. In contrast, each subject’s selfie reveals details of their lives and interests as well as how they want to be seen. “Self/Portrait” speaks of individualisation in a transitioning capitalist society as well as the need to belong.
 
Signed and numbered



Size: 215mm x 265mm


36 pages plus 15 throwouts
, 69 colour images

Housed in a dichroic slipcase


Each with a 8 x 10″ lambda print (signed & numbered), certificate of authenticity and envelope

Teresa Eng
In “Self/Portrait”, Teresa presents portraits of Chinese millenials that she approached in a shopping centre alongside one of their selfie from their mobile phone.
£195.00

Picture of Homing In | B-sides Box Set (Signed)

Publisher's Description

We are happy to announce Todd Hido has produced his 2nd B-Sides Box Set. His new Box Set, Homing In, offers a new glimpse into Hido's highly prolific process and unveils unpublished House Hunting photographs, overlooked images of his muse Khrystyna, and even brand new work made this year from the original set of Twin Peaks.
 
50 individual cards, 47 photographs

Numbered edition of 2000

Size: 3-7/8 x 2-7/8 x 1-1/8" two-piece archival acrylic box

Todd Hido
3-7/8 x 2-7/8 inch cards in a two-piece archival acrylic box
£45.00

Picture of TBW Book Series No. 5

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Shortlisted for the Paris Photo / Aperture Foundation PhotoBook of the Year Award 2017

FOUR BOOK SET

Book 1: Mike Mandel - Boardwalk Minus Forty
Book 2: Susan Meiselas - Prince Street Girls
Book 3: Bill Burke - They Shall Take Up Serpents
Book 4: Lee Friedlander - Head

Our fifth Subscription Series gathers four iconic living American photographers to offer entirely new bodies of never before seen work. Reaching back 30 years and beyond, the books feel contemporary through deliberate choices in editing, sequence, and design, while continuing to celebrate their vintage origins. Each artist's vision, while individually experienced, comes together to form a powerful quartet of books.

Mike Mandel - Boardwalk Minus Forty

Created during the artist's time as a student at the San Francisco Art Institute, Boardwalk Minus Forty was one of Mandel's first serious forays into what he jokingly refers to as "real photographs." Known later for his conceptual bodies of work, most notably Evidence, created with fellow artist Larry Sultan in the late 1970's and now regarded by many as one of photography’s most influential photo books, Boardwalk is a rare look back at the foundation the artist was building all along.

Susan Meiselas - Prince Street Girls

Shot during a short period in the late 1970s in New York's Lower East Side, Meiselas developed a close and lasting bond with a group of eleven neighborhood girls, collectively known as the Prince Street Girls. This book is an intimate and sprawling view of the girls’ formative years in an ever-changing city. Meisalas, a highly renowned and respected photographer, works today as a member of Magnum. Her early 1970's work, Carnival Strippers, and her following work in Nicaragua remain seminal photographic achievements to this day.

Bill Burke - They Shall Take Up Serpents

Continuing with Burke's tradition of examining niche American cultures, Serpents pulls us into the surreal, intense, and at times consuming world of coal miners doubling as religious snake handlers by the work-week's end. Here we see Burke building a lyrical narrative connecting the two groups that feels effortless. Known for using a variety of camera and film formats, Burke strings together images that alone might seem out of place but together weave the iconic storytelling the artist has become widely known and respected for.

Lee Friedlander - Head

Spanning 50 years of the artist's work, Friedlander dove into his archives to assemble a collection of images that crystallizes one of his signature shooting motifs. The book oscillates in tone from serious to humorous and back again. With a fluidity that belies the seemingly disparate images, Friedlander reminds viewers of his brilliance as both photographer and master of the bookmaking medium. Head is a fascinating glimpse into the process and approach of one of the world's most important and enigmatic living artists.

Edition of 1000

Size: 8.5 x 10.5"

Mike Mandel, Susan Meiselas, Bill Burke and Lee Friedlander
Shortlisted for the Paris Photo / Aperture Foundation PhotoBook of the Year Award 2017
£115.00

Picture of A Pink Flamingo

Edition of 750. Signed copies.

Travelling is the broadening of horizons in hope of betterment. In the story of American settlement this process is both physical and metaphorical. Settlers struck out in search of new horizons; visions of a landscape from which they hoped to enclose a new life. The Oregon Trail was one such journey.

Now the landscape is fenced, with the people in it, the terrain has been charted and limitless opportunity capped, but yearning remains. In a sense America has never stopped travelling west; whilst the pursuit of happiness leads toward an ever-receding goal, people wait for greener grass.

with essay by Dai George

104 pages
49 Colour Plates
22.86 cm x 27.94 cm
Embossed Hardcover
Designed by Stanley James Press


Jack Latham

Edition of 750. Signed copies.

Travelling is the broadening of horizons in hope of betterment. In the story of American settlement this process is both physical and metaphorical. Settlers struck out in search of new horizons; visions of a landscape from which they hoped to enclose a new life. The Oregon Trail was one such journey.

Now the landscape is fenced, with the people in it, the terrain has been charted and limitless opportunity capped, but yearning remains. In a sense America has never stopped travelling west; whilst the pursuit of happiness leads toward an ever-receding goal, people wait for greener grass.

with essay by Dai George

104 pages
49 Colour Plates
22.86 cm x 27.94 cm
Embossed Hardcover
Designed by Stanley James Press


£35.00

Picture of Huangshan: The Yellow Mountain (Special Edition)

In stock. Quantity very limited.

Standard edition also available

Publisher’s Description

Signed and numbered edition of 100 copies, presented in a custom greyboard slipcase.

Huangshan, also known as The Yellow Mountain, is an exquisite one hundred and sixty-square mile mountain range in Anhui province in eastern China. The range is particularly known for its seventy-two uniquely-shaped granite peaks, the ubiquitous pine trees that literally grow right out of the rock faces, and the ever-changing configurations of flowing clouds as seen from above. Originally named Yishan (Yi Mountain), legend has it that the mountain was renamed after the Yellow Emperor (Huang Di) ascended to heaven there in 747 AD. Huangshan has been, and continues to be, the subject of numerous traditional Chinese paintings and literature, and was named a UNESCO World Heritage Site in 1990. Today, it is one of China’s most popular tourist attractions.

In 2007, Michael Kenna made his first pilgrimage to Huangshan, and three years later Nazraeli Press published a monograph of the photographs he made on this and subsequent visits. The first edition of Huangshan sold out quickly, so we are pleased to announce a new, expanded edition of the book published on the tenth anniversary of Kenna’s first visit to the site. Huangshan: The Yellow Mountain includes fourteen new, previously unpublished photographs as well as the original forty-six.

Sample images

Publisher: Nazraeli Press

Size: 290 x 216 mm

84 pages, 60 duotone plates





Michael Kenna
Signed and numbered edition of 100 copies, presented in a custom greyboard slipcase.
£125.00

Picture of Crash

Publisher's Description

”I do not fully understand it at first.
The gradual and painful insight into a decisive and violent shift.
The world I grew up in is under threat.
The landscapes stretch out, as beautiful and imperturbable as ever.
These landscapes have met my eyes since the day I was born.
I can no longer see them as before”

JH Engström, Smedsby September 2017
 
The book CRASH is based on a series of landscapes photographed close to JH Engström’s home in Smedsby, Värmland in Sweden.
The collision between the hauntingly beautiful landscapes, surrounding JH Engström in his daily life, and the knowledge of what is happening in the ”big world” is the emotional fuel for the book CRASH.

Limited edition of 900 copies

Publisher: Akio Nagasawa Publishing

Size: 221 x 282 mm

70 pages

JH Engström
The book CRASH is based on a series of landscapes photographed close to JH Engström’s home in Smedsby, Värmland in Sweden.
£76.00

Picture of Kaos (Signed)

Overseas deliveries  Please note that, as this is an extremely heavy item, overseas postage will be charged at three times our standard rates.

Publisher’s Description

What makes Albert Watson one of the world’s most revered photographers, hailed by peers, critics, and collectors alike? Is it his unparalleled portfolio of celebrity portraits? Breathtaking landscapes? Sensual nudes, still lifes, illustrious fashion shoots?

KAOS presents a kaleidoscopic overview of Watson’s career to date and the dazzling array of subjects, objects, people, and places he has encountered along the way. A skillfully curated survey of a uniquely diverse, dynamic portfolio, it spans nearly half a century of photography to encounter stars, statesmen, women, and strangers; bound through neon-blazing cities; find figures poised, gymnastic, or shimmering with nude eroticism; roam the bright lights and the backstreets; soak up extravagant sunsets; enter the controlled studio environment; and breathe in the elemental wilds of the photographer’s native Scotland.

From Watson’s breakthrough portrait of Alfred Hitchcock for the Christmas 1973 edition of Harper’s Bazaar to a 2016 shot of Kanye West, each photograph reverberates with tightly coiled power, tension, and poetry. Whether it’s a portrait of a Las Vegas dominatrix, Elvis’s gold suit, a chimpanzee, or a street scene in China, Watson excels in capturing the surface seamlessly and probing its myriad depths. Along the way, his celebrity portraiture, including the likes of David Bowie, Jay Z, Mick Jagger, Michael Jackson, Jack Nicholson, Steve Jobs, and Andy Warhol, shows a particular interest in the private person behind the iconic façade.

This remarkable collection is accompanied by an essay from the recently retired head of photographs at Christie’s, Philippe Garner, and extensive quotes from Watson, as well as dozens of previously unpublished Polaroids, culled from Watson’s personal archives. The result is a defining document of the “photographer’s photographer,” iridescent in its graphic, often cinematic allure, and irresistible in its eclectic glory.

Collector’s Edition of 1,000 copies (No. 201-1,200), each numbered and signed by Albert Watson.

Sample images

Publisher: Taschen

Size:372 x 500 mm

408 pages

Albert Watson
Collector’s Edition of 1,000 copies (No. 201-1,200), each numbered and signed by Albert Watson.
£1,150.00

Picture of Iceland, Above & Below (Luxury Edition - Signed)

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Hans Strand’s stunning images of Iceland with a collection of images combining aerial views and studies from the ground and below.

See Hans Strand's website for sample images.

30 available with two signed A3 prints of #100 edition & #30 edition – book embossed, numbered and signed.

In limited edition slipcase.

Publisher: Triplekite

Size: 270 x 305 mm

120 pages

Hans Strand
Luxury Edition with two prints
£265.00

Picture of Perigee (Signed)

Publisher's Description

Walking through the Luxembourgish Ardennes, Gaffney documented his wanderings using polaroids. Later, he re-explored certain routes after nightfall, to photograph under the light of the full moon.

Bathed in its soft otherworldly glow, the forest’s narrow steep valleys evoke a mysterious, psychological wilderness, in what is in reality, a highly managed man-made environment.

“Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience.” - Eugenie Shinkle

Perigee is a set of two photobooks in an edition of 750 copies. "The smaller white book is a softcover, but it's not actually a paper back. It's actually a vinyl cover magnet, so this smaller book attaches to the larger one."

Self-published in association with the CNA, Luxembourg.

Sample images

Book 1:
Tri-tone printed on Mohawk Superfine uncoated paper
25 polaroid images on 68 pages
Japanese fold binding
Magnetic white vinyl cover
153mm x 203mm

Book 2:
Printed with UV inks on Lessebo uncoated paper
12 colour images on 24 pages
Handmade lay-flat binding
Ferrous metal cover
230mm x 305mm

Paul Gaffney

Publisher's Description

Walking through the Luxembourgish Ardennes, Gaffney documented his wanderings using polaroids. Later, he re-explored certain routes after nightfall, to photograph under the light of the full moon.

Bathed in its soft otherworldly glow, the forest’s narrow steep valleys evoke a mysterious, psychological wilderness, in what is in reality, a highly managed man-made environment.

“Drawn with light that is barely perceptible to the eye, Gaffney’s photographs emerge out of intuition, coincidence, and an underlying longing for connection and stillness. And although it’s tempting to call them landscapes, they are created through different ways of knowing a place – ways that acknowledge the moving, feeling body, rather than the distanced and distancing eye, as the foundation of our experience.” - Eugenie Shinkle

Perigee is a set of two photobooks in an edition of 750 copies. "The smaller white book is a softcover, but it's not actually a paper back. It's actually a vinyl cover magnet, so this smaller book attaches to the larger one."

Self-published in association with the CNA, Luxembourg.

Sample images

Book 1:
Tri-tone printed on Mohawk Superfine uncoated paper
25 polaroid images on 68 pages
Japanese fold binding
Magnetic white vinyl cover
153mm x 203mm

Book 2:
Printed with UV inks on Lessebo uncoated paper
12 colour images on 24 pages
Handmade lay-flat binding
Ferrous metal cover
230mm x 305mm

£60.00

Picture of Night Procession (Signed)

Publisher's Description

Photographs by Stephen Gill
Words by Karl Ove Knausgård 

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

Cloth bound hardback
160 Pages
86 colour plates
218 mm x 270 mm
Book contains inserted 16 page saddle stitched booklet with words
170 mm x 240 mm
Publication date - September 2017
Published by Nobody

Stephen Gill

Publisher's Description

Photographs by Stephen Gill
Words by Karl Ove Knausgård 

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

Cloth bound hardback
160 Pages
86 colour plates
218 mm x 270 mm
Book contains inserted 16 page saddle stitched booklet with words
170 mm x 240 mm
Publication date - September 2017
Published by Nobody

£43.00

Picture of NZ Library | Set 3 (Signed)

Overseas deliveries  Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

NZ Library books are limited to 350 numbered, signed and individually slipcased copies. The retail price for single copies is £150; when purchased as a set, a generous discount is extended, for a per-title price of £100.

NZ Library: Set Three includes the following six titles:

BEVAN DAVIES | New York, 1975
KATY GRANNAN | Hundreds of Sparrows: Volume 1
ANTHONY HERNANDEZ | Discarded
JOHN HUMBLE | Manifest Destiny
SAGE SOHIER | Americans Seen
MARK STEINMETZ | Angel City West: Volume 2

Publisher: Nazraeli Press


NZ Library books are limited to 350 numbered, signed and individually slipcased copies. T
£540.00

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