Nobody 0 (35 resultados)
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Soft Cover. Condición: New. Signed by the Photographer\n\nLimited to just 750 copies, our copies have been signed by Stephen. \n\nA new collection of works produced by Stephen's label Nobody Books and POST in conjunction with OPEN HOUSE to be held at DSMG in October 2023. The images included in this book were created by chance d…uring the printing of other collections of Stephen's work. In offset printing, paper is passed through the printing press when changing plates or warming up the machine to visually check ink adjustment. In order to save money, the same paper was often used, and ``Magnificent Failure'' was born by overlapping various images on the sheet. The overlapping images created an unplanned image that led Stephen to rescue the sheet from the print shop's trash can. \nNobody Books, limited to 750 copies\n \nsoftcover\n34 pages, 275 x 216 mm \nISBN 9784991313813 \nPublished Nobody 2023.
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Hard cover. Condición: New. This is bumped in one corner but otherwise new.\n\nPlease notify the sun "It was in 2017 that I began to have an inkling that a single fish might contain a universe of infinite proportions and how amazing a journey within its body could be. So I started to research everything I would need to embark on… such an expedition. By January 2020 I had built a work top, obtained a microscope, a camera, optics, lights and fridge. Mentally, though, I was far from ready. I was lacking the courage, time, energy and mental strength to set out on this unknown voyage. By February, the world exposed and in the unimaginable grasp of the pandemic. Time moved in entirely new ways as so many were affected, taken ill and had their lives claimed. This void in time, with all movements restricted, somehow presented a platform from which I could finally launch my inwards fish journey. I was prepared to explore for an unknown period but first of all I had, of course, to catch a fish. Being really unskilled at fishing this took a total of nine trips and thirty hours. On the 10th April 2020, at around 15.30, equipped with sleeping bags and instant noodles, my children and I arrived at a spot where flat rock, grass and shrubs meet the sea. I had almost got into the idea of never catching a fish by this point, so it was a sudden shock when a jolt was sent through the rod to my hands followed by a silver splash that appeared on the waveless water. My daughter Ada shouted, ?Get the net dad!? and she saw the slight panic in my face as I had failed to remember the next thing required to land the fish. Knowing it would be a time-sensitive journey as decay commenced the following day, I started what was eventually a ten-week voyage. Nothing could have prepared me for what I was going to encounter along the way or how sick I was to become during the making of this work." Stephen Gill "It?s not an invented world, made up in someone?s imagination, but a world that actually exists. It is the world inside the fish. But I simply can?t grasp this when I look at the images, even if I do keep telling myself that this what it is. Because what I see is something else. I see places and rooms. I see caves and grottos, beaches and fells, rock formations and oil slicks. I see sandbags, clouds of blood, ice-locked mountains, stalactites and stalagmites, red suns, underground rivers. I see prehistoric birds, frozen pools, a speedboat crossing a lake, a sandstorm in a desert landscape, flames of fire in darkness, craters, strange and primitive flowers, claws, rough seas under a reddened sky, neon lights reflecting in puddles, canes of white-painted bamboo, a koala sleeping on a limb. I see a landscape of fells with pine trees, stone sculptures under a sunset sky, a back eddy of murky water, melted chocolate, the head of a staring cat, a hugely magnified thumb, bundles of fabric, rocks covered with lichen or algae, Arctic landscapes" Karl Ove Knausgård \nPhotographs by Stephen Gill\nWords by Karl Ove Knausgård\nEdited & sequenced by Stephen Gill\nDesign by Greger Ulf Nilson\nPublished by Nobody\n111 colour plates\n168 pages\n216 x 270 mm\nPrinted on VENT NOUVEAU V-FS white, 151 gsm\nPaper from TAKEO Co., Ltd. Japan\nFoil embossed three-part clothbound hardback\n12-page saddle-stitched booklet with text\n132 x 210 mm\nPrinted on Takeo Satogami silver grey, 81 gsm\nCover printed on Takeo Tant Select TS-3 N-57, 116 gsm\nPrinted at Narayana Press, Denmark\nBound at S.R Buege, Germany\nPublished in January 2021\nISBN 978-91-985233-2-4.
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Hardcover. Condición: New. The series Best Before End is an attempt to reflect and respond to the intensity of inner city life by focusing on the phenomenal rise of energy drinks. These powerful and potentially dangerous stimulants are being sold and consumed in ever-increasing quantities as the demands of modern life and the gr…owth of a 24-hour society almost forbid us to become tired. With Best Before End I decided to give the subject of the series a direct physical presence in the images. The colour negative films were part-processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. This 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 while the emulsion was still pliable. All the drinks were sourced in East London, which is also where the images were made. Stephen Gill Tiredness can indeed kill but then whats death if not a big Chandleresque sleep, in which wiseacre gumshoes drive to the end of the night only to discover that its their own involvement in the case that led to the murder-spree. Ill sleep when Im dead, for all sleep is the sleep of reason we need our wits about us: its an accelerated world out there, demanding split-second decision making capability to hit the right button so as to make the right multi-million dollar trade, or order the next pizza, or download the next app. We swim through an orangey brinelight: a carbonated energy field of unified, fizzing awareness; its dreamlike this existence most certainly but its a waking dream, and for that we have energy drinks to thank. Stephen Gills beautiful images, which incorporate energy drinks as an integral part of their processing, capture this strange state of being at once driven and aqueous, simultaneously sweet and oh so bitter. The Best Before End series, memorialises the freewheeling Decline of the West; which, to paraphrase Alfred Jarry, the founding father of pataphysics, is best conceived of as a downhill bicycle race sponsored by a major-brand energy drink, in which all of the pursuit riders have the red head of the Minotaur. For myself, Im way out in front of them and pedalling HARD. Photographs by Stephen Gill\nWords by Will Self\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody in association with the Archive of Modern Conflict\n43 colour photographs\n72 pages\n265 x 362 mm Printed on Phoenix Motion Xantur, 170 gsm\nClothbound hardback\nPrinted at EBS, Verona, Italy\nPublished in 2014\nISBN 978-0-9575369-5-1.
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Hardcover. Condición: New. Archaeology in Reverse Stephen Gill Signed by the Photographer \nAfterword by Iain Sinclair Afterword by Iain Sinclair \nStephen Gill has learnt this: to haunt the places that haunt him. His photo-accumulations demonstrate a tender vision factored out of experience; alert, watchful, not overeager, wary… of that mendacious conceit, ?closure? There is always flow, momentum, the sense of a man passing through a place that delights him. A sense of stepping down, immediate engagement, politic exchange. Then he remounts the bicycle and away. Loving retrievals, like a letter to a friend, never possession? What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones?? - Iain Sinclair Continuing to photograph where his award-winning book Hackney Wick left off, Stephen Gill has made Archaeology in Reverse in his cherished area in East London. Still making pictures with the camera he bought at Hackney Wick market for 50p, this time he focuses on things that do not yet exist. This magnificently produced book features traces and clues of things to come in a poetic, sometimes eerie and quiet photographic study of a place in a state of limbo prior to the rapid transformation that this area faces during the build-up to the Olympics in 2012. \n114 pp / Hardback \n104 Colour Illustrations \n216mm x 216mm \nPublished by Nobody \nISBN 978-09549405-5-3.
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Hard cover. Condición: New. Please notify the sun "It was in 2017 that I began to have an inkling that a single fish might contain a universe of infinite proportions and how amazing a journey within its body could be. So I started to research everything I would need to embark on such an expedition. By January 2020 I had built a…work top, obtained a microscope, a camera, optics, lights and fridge. Mentally, though, I was far from ready. I was lacking the courage, time, energy and mental strength to set out on this unknown voyage. By February, the world exposed and in the unimaginable grasp of the pandemic. Time moved in entirely new ways as so many were affected, taken ill and had their lives claimed. This void in time, with all movements restricted, somehow presented a platform from which I could finally launch my inwards fish journey. I was prepared to explore for an unknown period but first of all I had, of course, to catch a fish. Being really unskilled at fishing this took a total of nine trips and thirty hours. On the 10th April 2020, at around 15.30, equipped with sleeping bags and instant noodles, my children and I arrived at a spot where flat rock, grass and shrubs meet the sea. I had almost got into the idea of never catching a fish by this point, so it was a sudden shock when a jolt was sent through the rod to my hands followed by a silver splash that appeared on the waveless water. My daughter Ada shouted, ?Get the net dad!? and she saw the slight panic in my face as I had failed to remember the next thing required to land the fish. Knowing it would be a time-sensitive journey as decay commenced the following day, I started what was eventually a ten-week voyage. Nothing could have prepared me for what I was going to encounter along the way or how sick I was to become during the making of this work." Stephen Gill "It?s not an invented world, made up in someone?s imagination, but a world that actually exists. It is the world inside the fish. But I simply can?t grasp this when I look at the images, even if I do keep telling myself that this what it is. Because what I see is something else. I see places and rooms. I see caves and grottos, beaches and fells, rock formations and oil slicks. I see sandbags, clouds of blood, ice-locked mountains, stalactites and stalagmites, red suns, underground rivers. I see prehistoric birds, frozen pools, a speedboat crossing a lake, a sandstorm in a desert landscape, flames of fire in darkness, craters, strange and primitive flowers, claws, rough seas under a reddened sky, neon lights reflecting in puddles, canes of white-painted bamboo, a koala sleeping on a limb. I see a landscape of fells with pine trees, stone sculptures under a sunset sky, a back eddy of murky water, melted chocolate, the head of a staring cat, a hugely magnified thumb, bundles of fabric, rocks covered with lichen or algae, Arctic landscapes" Karl Ove Knausgård \nPhotographs by Stephen Gill\nWords by Karl Ove Knausgård\nEdited & sequenced by Stephen Gill\nDesign by Greger Ulf Nilson\nPublished by Nobody\n111 colour plates\n168 pages\n216 x 270 mm\nPrinted on VENT NOUVEAU V-FS white, 151 gsm\nPaper from TAKEO Co., Ltd. Japan\nFoil embossed three-part clothbound hardback\n12-page saddle-stitched booklet with text\n132 x 210 mm\nPrinted on Takeo Satogami silver grey, 81 gsm\nCover printed on Takeo Tant Select TS-3 N-57, 116 gsm\nPrinted at Narayana Press, Denmark\nBound at S.R Buege, Germany\nPublished in January 2021\nISBN 978-91-985233-2-4.
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Hardcover. Condición: New. Anonymous Origami Stephen Gill Signed by the Photographer \n\nThe photographs in this book are of folded paper from Hotels, B & B?s over the past few years. The paper were placed between pages of a book and taken back to my studio to be photographed. They were sourced from different parts of the world…including ? the UK, France, Romania, Russia, The Netherlands, Germany, US, Japan. Initially I was going to state the places where these were sourced as image titles but I got them all mixed up , I can still recognize one or two of them for there particular style and effort made but now they stand one step even further away from there anonymous creators. \n52 pp / (Japanese fold soft back), \n25 Black and White Illustrations \n235 mm x 178 mm \nPublished by Nobody \nISBN 978-09549405-8-4. Gill, Stephen (ilustrador).
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Hardcover. Condición: New. Signed by Stephen Gill\n\nThe series Best Before End is an attempt to reflect and respond to the intensity of inner city life by focusing on the phenomenal rise of energy drinks. These powerful and potentially dangerous stimulants are being sold and consumed in ever-increasing quantities as the demands… of modern life and the growth of a 24-hour society almost forbid us to become tired. With Best Before End I decided to give the subject of the series a direct physical presence in the images. The colour negative films were part-processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. This 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 while the emulsion was still pliable. All the drinks were sourced in East London, which is also where the images were made. Stephen Gill Tiredness can indeed kill but then whats death if not a big Chandleresque sleep, in which wiseacre gumshoes drive to the end of the night only to discover that its their own involvement in the case that led to the murder-spree. Ill sleep when Im dead, for all sleep is the sleep of reason we need our wits about us: its an accelerated world out there, demanding split-second decision making capability to hit the right button so as to make the right multi-million dollar trade, or order the next pizza, or download the next app. We swim through an orangey brinelight: a carbonated energy field of unified, fizzing awareness; its dreamlike this existence most certainly but its a waking dream, and for that we have energy drinks to thank. Stephen Gills beautiful images, which incorporate energy drinks as an integral part of their processing, capture this strange state of being at once driven and aqueous, simultaneously sweet and oh so bitter. The Best Before End series, memorialises the freewheeling Decline of the West; which, to paraphrase Alfred Jarry, the founding father of pataphysics, is best conceived of as a downhill bicycle race sponsored by a major-brand energy drink, in which all of the pursuit riders have the red head of the Minotaur. For myself, Im way out in front of them and pedalling HARD. Photographs by Stephen Gill\nWords by Will Self\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody in association with the Archive of Modern Conflict\n43 colour photographs\n72 pages\n265 x 362 mm Printed on Phoenix Motion Xantur, 170 gsm\nClothbound hardback\nPrinted at EBS, Verona, Italy\nPublished in 2014\nISBN 978-0-9575369-5-1.
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Hardback. Condición: New. The photographs in this series were made in East London between 2009 and 2013. They feature objects and creatures that I sourced from the local surroundings and placed into the body of my camera.\n\nI hoped through this method to encourage the spirit of the place to clamber aboard the images and be enca…psulated in the film emulsion, like objects embedded in amber. My aim was to evoke the feeling of the area at the same time as describing its appearance as the subject was both in front and behind the camera lens at the same moment.\n\nI like to think of these photographs as in-camera photograms in which conflict or harmony has been randomly formed in the final image depending on where the objects landed.\n\nStephen Gill\n\nPhotographs by Stephen Gill\nWords by Stephen Gill\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody\n34 colour photographs\n72 pages\n250 x 250 mm\nPrinted on Phoenix Motion Xantur, 170 gsm\nClothbound hardback with silk screen cover and foil\nPrinted at EBS, Verona, Italy\nPublished in 2014\nISBN 978-0-9575369-1-3.
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Hardback. Condición: New. Signed by the photographer\n\nThe photographs in this series were made in East London between 2009 and 2013. They feature objects and creatures that I sourced from the local surroundings and placed into the body of my camera.\n\nI hoped through this method to encourage the spirit of the place to clamber… aboard the images and be encapsulated in the film emulsion, like objects embedded in amber. My aim was to evoke the feeling of the area at the same time as describing its appearance as the subject was both in front and behind the camera lens at the same moment.\n\nI like to think of these photographs as in-camera photograms in which conflict or harmony has been randomly formed in the final image depending on where the objects landed.\n\nStephen Gill\n\nPhotographs by Stephen Gill\nWords by Stephen Gill\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody\n34 colour photographs\n72 pages\n250 x 250 mm\nPrinted on Phoenix Motion Xantur, 170 gsm\nClothbound hardback with silk screen cover and foil\nPrinted at EBS, Verona, Italy\nPublished in 2014\nISBN 978-0-9575369-1-3.
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Hardcover. Condición: New. B Sides is a companion book to Coming up to Air \nJust as a collection of a musician?s B-side cuts and outtakes, or the scenes that didn?t quite make it into a movie, speak volumes about the project as a whole, and offer their own kind of magic by their very excision, so too does B Sides, the companion… volume to British photographer Stephen Gill's latest book of photos Coming Up for Air, likewise illuminate the fringes of his latest project. In B Sides, Gill records minute effects of texture and trace. \nPlease note that only a limited number of copies are available. \nCloth bound hardback book \n35 colour photographs and 3 etchings\n72 pages\n250 x 330 mm\nPrinted on Symbol Tatami White, 150 gsm\nSilk screen clothbound hardback \nPrinted at Die Keure, Bruges, Belgium\nEdition of 1000 Published in 2010\nISBN 978-0-9556577-4-0.
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Hardcover. Condición: New. Quoted extract by Karl Ove Knausgård, an essay written and to accompany The Pillar 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 th…e 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 \n\nSmall text about The Pillar by Stephen Gill (not featured in book)\n\nThe landscape that surrounds my home in Sweden can be misleading. The bird activity it contains is diluted by the vastness of the flat open land and sky, which gives the impression that very little is going on. In January 2015, with the inkling of an idea that their activity might be more prevalent than I first thought, I decided to try to pull the birds from the sky. On the edge of a field next to a stream I set up a 6 cm-diameter stage in the form of a wooden pillar about one and half metres high. Opposite it I placed another, the same size, on which I mounted a motion-sensor camera. When I visited the camera a few days later, to my surprise, it had worked. The pillar had funnelled the birds from the sky offering them a place to rest, feed, nurse their young, and look around. I was captivated. The images were often chaotic, the birds offbeat and awkward like contortionists, but the shapes and soft lines made by their bodies and wings were arresting. From my kitchen window the pillar appeared like a matchstick in the flat distance yet the absence afforded the birds a greater presence in my mind. Even when I was out of the country I would be imagining the activity on the stage. \n\nMost were species I had never seen before, though a few I recognised from my teenage obsession with inner-city bird life, which had been central to my escalating interest in making photographs in Bristol, growing up. My frame of mind making this new work took me right back to those years as if completing a full circle. This new exercise became an accidental way of getting to know both bird behaviour and even individual birds. Some were small, some were large, and some had distinctive personalities, completely vivid, and resembling people I knew. I am very drawn to the shapes presented by birds in flight, birds perched, and those in between the two: claws clenched overhanging the surface of the pillar, translucent feathers splayed to reveal patterns and markings, images as pristine as in an identification book, and those, too, which are battered, wet or windswept. The shapes often conjured images of the birds playing stringed instruments, or wearing cloaks and masks, exercising or screaming. I was also struck by how the relatively fixed pre-composed rectangle of the camera offered a reminder of the infinite variations of a single scene over a period of time, suggesting that nothing happens twice. \n\nIt is now four years since t.
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Hard cover. Condición: New. Signed by the photographer, in assorted coloured binding books so the colour of the book will vary, we are not able to send particular colours.\n\nOne of the best retrospective catalogues of images I have seen with over 600 pages, this is an essential item for every photobook library and stephen gill…collector.\n\nCoinciding with Arnolfini's major autumn exhibition Coming up for Air: Stephen Gill A Retrospective (16 October 2021 to 16 January 2022), this enthralling publication encompasses over 40 years of practice (from 1982 to 2021), featuring some of Gill's first photographs (taken as a child), and selected images from Gill's best-known series, such as the award winning The Pillar, Talking to Ants and Hackney Flowers, alongside lesser-known collections, Invisible, Russian Women Smokers and Audio Portraits, and early images of Bristol, where Gill was born.\n\nPublished by Gill's Nobody Books in association with Arnolfini, the book includes a text from Arnolfini's Director and self-confessed fan, Gary Topp, who reflects back on the fascinating process of working with Gill underlining his abundant output showcased here across 604 pages offering an absorbing insight into the artist's working practice:\n\n"A retrospective exhibition, and this accompanying book, is a very powerful tool to unleash on the psychology of an artist, (and his colleagues at the host institution!) and the responsibility we all take to share this in the public arena (a civic responsibility) with the hope of allowing many more people to enter into their own encounters with the work and his dynamic career path. When the artist is as prolific, ostensibly shapeshifting, and as determined as Stephen it can be an unsettling space for the viewer to try and find a route into the work and to begin to peel back the edges of his magic."\n\nBringing together an exhaustive array of photography and technical approaches, including over 450 colour and 150 black and white plates, Coming up for Air creates an invaluable journey through Gill's extraordinary career, which has seen him described in turn as a 'documentarist', 'anthropologist' and 'dazzling visual poet'. \n\nPhotographs by Stephen Gill\nWords by Gary Topp, Director, Arnolfini\nEdited & sequenced by Stephen Gill\nDesign by Greger Ulf Nilson\nPublished by Nobody\n\n624 pages\n216 x 270 mm\nDifferent colour covers clothbound hardback, foil embossed with tip-in image on cover\n\nPrinted at Narayana Press, Denmark and bound at S.R Buege, Germany\n\nISBN 978-91-985233-4-8.
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Hardcover. Condición: New. Signed by the Photographer \nB Sides is a companion book to Coming up to Air Just as a collection of a musician?s B-side cuts and outtakes, or the scenes that didn?t quite make it into a movie, speak volumes about the project as a whole, and offer their own kind of magic by their very excision, so too…does B Sides, the companion volume to British photographer Stephen Gill's latest book of photos Coming Up for Air, likewise illuminate the fringes of his latest project. In B Sides, Gill records minute effects of texture and trace. Please note that only a limited number of copies are available. \nCCloth bound hardback book \n35 colour photographs and 3 etchings\n72 pages\n250 x 330 mm\nPrinted on Symbol Tatami White, 150 gsm\nSilk screen clothbound hardback \nPrinted at Die Keure, Bruges, Belgium\nEdition of 1000 Published in 2010\nISBN 978-0-9556577-4-0.
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Hard cover. Condición: New. Limited edition of just 100 copies, Signed with a small print\n\nThe Observer's Book of Pond Life by John Clegg was a book I discovered as a child in a public library in Patchway, Bristol, around 1979. I kept borrowing and renewing it over long periods of time. The images it contained suggested a para…llel world invisible to the one that surrounded me. Pictures of water beetles, water mites, and dragonflies struck a chord along with the more graphic images of diatoms and other single celled animals more abstract in appearance. It was an astonishing book for me and made me curious to know if my small garden pond was also teaming with such life. This led to a new obsession of spending hours peering into microscopes often whilst listening to my parent's 7" records. As a kid exploring the vastness within a single drop of water was like travelling into space. The printed measuring rule in inches and centimetres on the back book cover has remained in my mind all these years later. Stephen Gill\n\nPond Life \nFacsimile of original 1956 publication with signed and numbered print Cover photograph by Stephen Gill\nIncl. signed and numbered individually worked print by Stephen Gill\nWords by John Clegg\nPublished by Salon Verlag Illustrated throughout\n128 pages 90 x 145 mm \nPrinted on ProfiSilk, 100 gsm and Munken Cream, 100 gsm \nHardback cloth with dust jacket \nPrinted and bound at Bookfactory, Stadthagen\nEdition of 100, signed and numbered \nPublished in 2019 \nISBN 978-3-89770-963-8.
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Hardcover. Condición: 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 ot…her 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.\n\nPhotographs by Stephen Gill\nWords by Stephen Gil\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody\n98 colour photographs\n106 pages incl. 1 gatefold\n250 x 330 mm\nPrinted on Symbol Tatami White, 150 gsm\nHand-painted dust jacket clothbound hardback\nPrinted at Die Keure, Bruges, Belgium\nEdition of 4500 Published in 2010\nISBN 978-0-9556577-2-6\nPublished by Nobody\n98 colour photographs\n106 pages incl. 1 gatefold\n250 x 330 mm\nPrinted on Symbol Tatami White, 150 gsm\nHand-painted dust jacket clothbound hardback\nPrinted at Die Keure, Bruges, Belgium\nPublished in 2010\nISBN 978-0-9556577-2-6.
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Hardcover. Condición: New. Invisible Published by nobody 2005 Signed by the Photographer\n\nThis was Stephen Gills second book, this first edition and was limited to just 1000 copies. \n\nThese photographs show us a paradox: how fluorescent safety-clothing, which is intended to make workers in potentially dangerous occupations c…onspicuous, can make its wearers invisible. They are the latest series by a photographer with a sustained interest in the way cities work. Here he shows us the invisible people who ensure that London and its suburbs function. It is as if the metropolis is a complicated clock which no one ever sees or rather notices being wound up.\nMark Haworth-Booth\n\nPhotographs by Stephen Gill\nWords by Mark Haworth-Booth\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody\n30 colour photographs\n64 pages\n300 x 255 mm\nPrinted on Job Parilux Silk, 170 gsm\nPaperbound hardback\nPrinted at EBS, Verona, Italy\nEdition of 1000\nPublished in 2005\nISBN 978-0-9549405-0-8.
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Hardcover. Condición: New. First edition hardbound in blue printed cloth. slight second\nThis was the photobook that saw Stephen Gill career take off and is his most sought after title. \nStephen's third book features a photographic study of Hackney Wick in East London between 2002 and 2005. The Images show the contrasts of this… area including the chaos of the market as well as rich nature that is present around the canals and rivers. The area also faces great changes as preparations are being made for the 2012 Olympic Games that mainly will be hosted in this area. Hackney Wick sits in east London between the Grand Union Canal, the River Lea and the Eastway A106. I first came across the area at the end of 2002 when I was photographing the back of advertising billboards. Although I had lived in London for nine years and thought I knew East London well, Hackney Wick threw me; it completely changed my mental map of this part of London. My first visit was on a Sunday, to the market which used to take place in the old greyhound/speedway stadium. The vast market was like no other I had seen before. At first glance, apart from few pot plants, most of the items on sale looked like scrap. It was not a market for luxury goods; it seemed to exist for people who were struggling to keep afloat themselves: exhausted white goods, mountains of washing machines and fridges, copper wire and other scrap metals stripped from derelict buildings; piles of old VHS videos which had been forced out of peoples homes to make way for DVDs. That day I bought a plastic camera at the market for 50p; it had a plastic lens with no focus or exposure controls. I started making pictures with it at once. Over the next two years I visited Hackney Wick again and again. Hackney has long provided a refuge for immigrants and asylum seekers from all over the world and for me Hackney Wick especially reflects the great diversity of London. The market closed on 13th July, 2003; it had been going for seven years. According to the Trading Standards inspectors it had been swamped with stolen and counterfeit goods. The remains of the old stadium were demolished weeks after the closure as part of the preparations for Londons bid for the 2012 games. The games which will bring many good things to the area: new transport links and much needed infrastructure. But there will be losses, too. There is another side to Hackney Wick. Away from the noise and chaos nature has somehow managed to find and keep a place for itself. The canals and rivers and secret allotments (known only to their dedicated gardeners) are home to many birds and animals. These hidden paradises have a vibrancy of their own which will soon be muted by the dust that will cover them. Stephen Gill, 2004 *The slight defects to the very last copies of Hackney Wick (first edition) are quite minor and usually the ink was a touch low on the silk screen cover or the alignment on the silk screen spine not perfectly straight.* Hackney Wick 126pp, with 24 page special section with paintings by Laure Prouvost \n116 Colour photographs by Stephen Gill \n216 mm x 216 mm \nClothbound hardcover \nPublished by: Nobody \nEdition of 1500 \nPublication date: October 2005.
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Hardcover. Condición: New. Signed by the Photographer \n\nComing 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 Lo…ndon 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.\nPhotographs by Stephen Gill\nWords by Stephen Gil\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody\n98 colour photographs\n106 pages incl. 1 gatefold\n250 x 330mm\nPrinted on Symbol Tatami White, 150 gsm\nHand-painted dust jacket clothbound hardback\nPrinted at Die Keure, Bruges, Belgium\nEdition of 4500 Published in 2010\nISBN 978-0-9556577-2-6\nPublished by Nobody\n98 colour photographs\n106 pages incl. 1 gatefold\n250 x 330 mm\nPrinted on Symbol Tatami White, 150 gsm\nHand-painted dust jacket clothbound hardback\nPrinted at Die Keure, Bruges, Belgium\nEdition of 4500\nPublished in 2010\nISBN 978-0-9556577-2-6.
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Añadir al carritoHardcover. Condición: New. Stephen Gills photographs are devoid of sentiment or affectation rather than showing the pigeon in our world, they take us into theirs. The lens noses in under bridges, squeezes through cracks and scopes out crannies. These are images that bestow on the despised flying rats that oft-trumpeted but seldo…m realised attribution: their dignity: here are pigeons making their lives in a natural landscape, for, whatever else humans may be, we are animals too, and as such our buildings are analogous to the earthworks of termites, and our bridges to the dams of beavers. Its this inversion of the anthropocentric view that makes Gills images so compelling that, and another revelation; for, fluffed-up and blinking, in the dust and the grime and the rust and rime, we see those mythical beings: the young pigeons. I suspect its because weve entered this otherworldly realm that we find these juveniles to be arousing not of pity, but a grudging respect far from being scroungers, or undeserving poor, these doughty birds survive and even thrive, despite barbs and more barbs of outrageous human fortune. They are, like the urban foxes, the economic migrants of the animal world: forced into the cities to scratch a living as best they may, and before we condemn them we would do well to ask ourselves this question: would we do as well were the tables to be turned? Will Self Photographs by Stephen Gill Words by Will Self Published in 2014 by Nobody in association with Archive of Modern Conflict Cloth bound hardback Silkscreen Cover 29 Colour photographs 200mm x 252mm 52 pages Signed copy.
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Hardcover. Condición: New. Hackney Flowers Stephen Gill Signed by the Photographer \n\nStephen Gill has again used his surroundings as the inspiration for this beautiful and evocative series. Hackney Flowers has evolved from his longstanding interest in Hackney, east London. This times Gill has collected flowers, seeds, berries…and objects from Hackney, East London, that were then pressed in his studio and re-photographed alongside his own photographs and found ephemera, thus building up multi-layered images built from the area. Some of the base photographs were also buried in Hackney Wick, allowing the subsequent decay to imprint upon the images, stressing this collaboration with place. A parallel series also runs within this finely produced book, showing members of the public in Hackney with floral details on their person. This is a warm, poetic and visually exciting book containing images that leave an overwhelming sense of colour, emotion and rhythm extracted from a single borough of London. \n114 pp / Hardback \n59 Colour Illustrations \n286 mm x 220 mm \nPublished by Nobody \nISBN 978-09549405-3-9.
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Hardcover. Condición: New. Buried Published by Nobody Limited to just 750 in total each book comes with one of two C-Type prints, and a card slipcase. \nEach book is signed at the front and numbered at the back. This has the Metal Tank Print\n\nuried comprises of images taken in Hackney Wick and then buried there. Gill found the… idea of introducing the element of chance and surprise and the not knowing what an image would look like once it was dug up very appealing. It also felt fair to him to collaborate with the place, allowing it also to work on each picture putting its finishing touches to each one. The poignancy of this project is that the area of Hackney Wick where these pictures were taken is soon to be itself buried, under the redevelopment that is the 2012 London Olympics. Whilst I am not able to sort the books to supply a particular image, I have sorted a number of pairs of books for people wanting both images. The book is hardbound with 32pp and measures 190 x 135mm. Each book was itself buried briefly, prior to insertion to the slipcase, to add the finishing touches to the project and giving each cover its unique markings. 'The photographs in this book were taken in Hackney Wick and later buried there. The amount of time the images were left underground varied depending on the amount of rainfall. The depths that the pictures were buried at also varied, as did their positioning, sometimes they were facing each other, sometimes back to back or sometimes singly. When burying my first batch of prints, a man spotted me and asked what I was doing, not wishing to give the location away of some of my buried pictures, but it sounded a bit weird to say that I was burying photographs, so I replied that I was looking for Newts, as soon as I said that I found a newt and lifted it up and said look there's one. Not knowing what an image would look like once it was dug up introduced an element of chance and surprise which I found appealing. This feeling of letting go and collaborating with place - allowing it also to work on putting the finishing touches to a picture - felt fair. Maybe the sprit of the place can also make its mark.' Stephen Gill.
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Hardcover. Condición: New. Hackney Wick Published by Nobody Signed by the Photographer First edition hardbound in blue printed cloth. Signed by the photographer. Stephen's third book features a photographic study of Hackney Wick in East London between 2002 and 2005. The Images show the contrasts of this area including the chaos…of the market as well as rich nature that is present around the canals and rivers. The area also faces great changes as preparations are being made for the 2012 Olympic Games that mainly will be hosted in this area. Stephen Gill was the first Photographer to be put 'in the spotlight' by Phototitles.
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Hardcover. Condición: New. Limited Edition, signed and number with a print and in a clam shell box. \nThe series Best Before End is an attempt to reflect and respond to the intensity of inner city life by focusing on the phenomenal rise of energy drinks. These powerful and potentially dangerous stimulants are being sold and cons…umed in ever-increasing quantities as the demands of modern life and the growth of a 24-hour society almost forbid us to become tired. With Best Before End I decided to give the subject of the series a direct physical presence in the images. The colour negative films were part-processed and soaked in energy drink, which caused image shifts and disruptions and softened the film emulsion. This 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 while the emulsion was still pliable. All the drinks were sourced in East London, which is also where the images were made. Stephen Gill Tiredness can indeed kill but then whats death if not a big Chandleresque sleep, in which wiseacre gumshoes drive to the end of the night only to discover that its their own involvement in the case that led to the murder-spree. Ill sleep when Im dead, for all sleep is the sleep of reason we need our wits about us: its an accelerated world out there, demanding split-second decision making capability to hit the right button so as to make the right multi-million dollar trade, or order the next pizza, or download the next app. We swim through an orangey brinelight: a carbonated energy field of unified, fizzing awareness; its dreamlike this existence most certainly but its a waking dream, and for that we have energy drinks to thank. Stephen Gills beautiful images, which incorporate energy drinks as an integral part of their processing, capture this strange state of being at once driven and aqueous, simultaneously sweet and oh so bitter. The Best Before End series, memorialises the freewheeling Decline of the West; which, to paraphrase Alfred Jarry, the founding father of pataphysics, is best conceived of as a downhill bicycle race sponsored by a major-brand energy drink, in which all of the pursuit riders have the red head of the Minotaur. For myself, Im way out in front of them and pedalling HARD. \nPhotographs by Stephen Gill\nWords by Will Self\nEdited and sequenced by Stephen Gill\nDesign by Melanie Mues\nPublished by Nobody in association with the Archive of Modern Conflict\n43 colour photographs\n72 pages\n265 x 362 mm Printed on Phoenix Motion Xantur, 170 gsm\nClothbound hardback\nPrinted at EBS, Verona, Italy\nPublished in 2014\nISBN 978-0-9575369-5-1.
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Hardcover. Condición: New. Buried Published by Nobody Limited to just 750 in total each book comes with one of two C-Type prints, and a card slipcase. \nEach book is signed at the front and numbered at the back. This has the Dam Wall Print\n\nuried comprises of images taken in Hackney Wick and then buried there. Gill found the i…dea of introducing the element of chance and surprise and the not knowing what an image would look like once it was dug up very appealing. It also felt fair to him to collaborate with the place, allowing it also to work on each picture putting its finishing touches to each one. The poignancy of this project is that the area of Hackney Wick where these pictures were taken is soon to be itself buried, under the redevelopment that is the 2012 London Olympics. Whilst I am not able to sort the books to supply a particular image, I have sorted a number of pairs of books for people wanting both images. The book is hardbound with 32pp and measures 190 x 135mm. Each book was itself buried briefly, prior to insertion to the slipcase, to add the finishing touches to the project and giving each cover its unique markings. 'The photographs in this book were taken in Hackney Wick and later buried there. The amount of time the images were left underground varied depending on the amount of rainfall. The depths that the pictures were buried at also varied, as did their positioning, sometimes they were facing each other, sometimes back to back or sometimes singly. When burying my first batch of prints, a man spotted me and asked what I was doing, not wishing to give the location away of some of my buried pictures, but it sounded a bit weird to say that I was burying photographs, so I replied that I was looking for Newts, as soon as I said that I found a newt and lifted it up and said look there's one. Not knowing what an image would look like once it was dug up introduced an element of chance and surprise which I found appealing. This feeling of letting go and collaborating with place - allowing it also to work on putting the finishing touches to a picture - felt fair. Maybe the sprit of the place can also make its mark.' Stephen Gill.
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Hardcover. Condición: New. Anonymous Origami Stephen Gill \nSpecial Edition of 100 copies Signed and numbered with a Bromide Print \nThe photographs in this book are of folded paper from Hotels, B & B?s over the past few years. The paper were placed between pages of a book and taken back to my studio to be photographed. They wer…e sourced from different parts of the world including ? the UK, France, Romania, Russia, The Netherlands, Germany, US, Japan. Initially I was going to state the places where these were sourced as image titles but I got them all mixed up , I can still recognize one or two of them for there particular style and effort made but now they stand one step even further away from there anonymous creators. \n52 pp / (Japanese fold soft back), \n25 Black and White Illustrations \n235 mm x 178 mm \nPublished by Nobody \nISBN 978-09549405-9-1.
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Hardcover. Condición: New. Hackney Wick Published by Nobody Limited edition of 100 it includes a card slipcase, first edition book hardbound in printed blue cloth, poster and a c type print. \n\nThe book is signed and numbered and the print is signed on the back. Signed by the photographer. \n\nStephen's third book features a ph…otographic study of Hackney Wick in East London between 2002 and 2005. \nThe Images show the contrasts of this area including the chaos of the market as well as rich nature that is present around the canals and rivers. The area also faces great changes as preparations are being made for the 2012 Olympic Games that mainly will be hosted in this area. \n\nHackney Wick sits in east London between the Grand Union Canal, the River Lea and the Eastway A106. I first came across the area at the end of 2002 when I was photographing the back of advertising billboards. Although I had lived in London for nine years and thought I knew East London well, Hackney Wick threw me; it completely changed my mental map of this part of London. My first visit was on a Sunday, to the market which used to take place in the old greyhound/speedway stadium. The vast market was like no other I had seen before. At first glance, apart from few pot plants, most of the items on sale looked like scrap. It was not a market for luxury goods; it seemed to exist for people who were struggling to keep afloat themselves: exhausted white goods, mountains of washing machines and fridges, copper wire and other scrap metals stripped from derelict buildings; piles of old VHS videos which had been forced out of people's homes to make way for DVDs.\nThat day I bought a plastic camera at the market; it had a plastic lens with no focus or exposure controls. I immediately felt compelled to make pictures and for the next few years was carried by and drawn to the place itself, this time, unlike other works I had made to date, the parameters to the work were not around narrow concept or pursuing a singular interest, obsession or idea that was already forming in my mind, but more of a geographical pull and fascination with place and those who inhabited it. Though not a "concept" as such I enjoyed the thought that this camera would now get to work within the very place and its surroundings where it was sourced. Hackney has long provided a refuge for immigrants and asylum seekers from all over the world and for me Hackney Wick especially reflects the great diversity of London.\n\nThis new encounter with place coincided with a time in my life I started to have less trust information loaded and images and realised that when information is dialled down, denied, or obscured, somehow other feelings remain This series encapsulated what I believed at the time was an ideal amount of information to invoke the spirit and feeling of the place.\n\nThe market closed on 13th July 2003; it had been going for seven years. According to the Trading Standards inspectors it had been swamped with stolen and counterfeit goods. The remains of the old stadium were demolished weeks after the closure as part of the preparations for London's bid for the 2012 games. There is another side to Hackney Wick. Away from the noise and chaos nature has somehow managed to find and keep a place for itself. The canals and rivers and secret allotments (known only to their dedicated gardeners) are home to many birds and animals. These hidden paradises have a vibrancy of their own which will soon be muted by the dust that will cover them.\n\nOver the next several years to come I visited Hackney Wick again and again making other series in the Borough including Archaeology in Reverse, Hammer and Blackberry, Warming Down, Hackney Flower Portraits, Hackney Flowers, A Series of Disappointments, Off Ground, Talking to Ants and Best Before End\n\nStephen Gill \n\nEdition of 100, signed and numbered\nHoused in rubber-stamped slipcase made from record sleeve\n1 c-type print, signed\n155 x 208 mm\nISBN 978-0-9549405-2-0.
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Hardcover. Condición: New. Buried (Double Pack) Published by Nobody Limited to just 750 in total each book comes with one of two C-Type prints, and a card slipcase. Each book is signed at the front and numbered at the back. This is for two copies of the book with the two different C-Type photographs Buried comprises of images ta…ken in Hackney Wick and then buried there. Gill found the idea of introducing the element of chance and surprise and the not knowing what an image would look like once it was dug up very appealing. It also felt fair to him to collaborate with the place, allowing it also to work on each picture putting its finishing touches to each one. The poignancy of this project is that the area of Hackney Wick where these pictures were taken is soon to be itself buried, under the redevelopment that is the 2012 London Olympics. Also available as single copies. The book is hardbound with 32pp and measures 190 x 135mm. Each book was itself buried briefly, prior to insertion to the slipcase, to add the finishing touches to the project and giving each cover its unique markings. 'The photographs in this book were taken in Hackney Wick and later buried there. The amount of time the images were left underground varied depending on the amount of rainfall. The depths that the pictures were buried at also varied, as did their positioning, sometimes they were facing each other, sometimes back to back or sometimes singly. When burying my first batch of prints, a man spotted me and asked what I was doing, not wishing to give the location away of some of my buried pictures, but it sounded a bit weird to say that I was burying photographs, so I replied that I was looking for Newts, as soon as I said that I found a newt and lifted it up and said look there's one. Not knowing what an image would look like once it was dug up introduced an element of chance and surprise which I found appealing. This feeling of letting go and collaborating with place - allowing it also to work on putting the finishing touches to a picture - felt fair. Maybe the sprit of the place can also make its mark.' Stephen Gill.
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Hardcover. Condición: New. Archaeology in Reverse Stephen Gill \nSpecial Edition Limited to 100 copies Signed and numbered with a C-Type Print \nAfterword by Iain Sinclair \nAfterword by Iain Sinclair \nStephen Gill has learnt this: to haunt the places that haunt him. His photo-accumulations demonstrate a tender vision factored…out of experience; alert, watchful, not overeager, wary of that mendacious conceit, ?closure? There is always flow, momentum, the sense of a man passing through a place that delights him. A sense of stepping down, immediate engagement, politic exchange. Then he remounts the bicycle and away. Loving retrievals, like a letter to a friend, never possession? What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones?? - Iain Sinclair Continuing to photograph where his award-winning book Hackney Wick left off, Stephen Gill has made Archaeology in Reverse in his cherished area in East London. Still making pictures with the camera he bought at Hackney Wick market for 50p, this time he focuses on things that do not yet exist. This magnificently produced book features traces and clues of things to come in a poetic, sometimes eerie and quiet photographic study of a place in a state of limbo prior to the rapid transformation that this area faces during the build-up to the Olympics in 2012. \n114 pp / Hardback \n104 Colour Illustrations \n216mm x 216mm \nPublished by Nobody \nISBN 978-09549405-5-3.
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Añadir al carritoHard cover. Condición: New. Signed by the Photographer.\nPlease notify the sun "It was in 2017 that I began to have an inkling that a single fish might contain a universe of infinite proportions and how amazing a journey within its body could be. So I started to research everything I would need to embark on such an expedition. B…y January 2020 I had built a work top, obtained a microscope, a camera, optics, lights and fridge. Mentally, though, I was far from ready. I was lacking the courage, time, energy and mental strength to set out on this unknown voyage. By February, the world exposed and in the unimaginable grasp of the pandemic. Time moved in entirely new ways as so many were affected, taken ill and had their lives claimed. This void in time, with all movements restricted, somehow presented a platform from which I could finally launch my inwards fish journey. I was prepared to explore for an unknown period but first of all I had, of course, to catch a fish. Being really unskilled at fishing this took a total of nine trips and thirty hours. On the 10th April 2020, at around 15.30, equipped with sleeping bags and instant noodles, my children and I arrived at a spot where flat rock, grass and shrubs meet the sea. I had almost got into the idea of never catching a fish by this point, so it was a sudden shock when a jolt was sent through the rod to my hands followed by a silver splash that appeared on the waveless water. My daughter Ada shouted, ?Get the net dad!? and she saw the slight panic in my face as I had failed to remember the next thing required to land the fish. Knowing it would be a time-sensitive journey as decay commenced the following day, I started what was eventually a ten-week voyage. Nothing could have prepared me for what I was going to encounter along the way or how sick I was to become during the making of this work." Stephen Gill "It?s not an invented world, made up in someone?s imagination, but a world that actually exists. It is the world inside the fish. But I simply can?t grasp this when I look at the images, even if I do keep telling myself that this what it is. Because what I see is something else. I see places and rooms. I see caves and grottos, beaches and fells, rock formations and oil slicks. I see sandbags, clouds of blood, ice-locked mountains, stalactites and stalagmites, red suns, underground rivers. I see prehistoric birds, frozen pools, a speedboat crossing a lake, a sandstorm in a desert landscape, flames of fire in darkness, craters, strange and primitive flowers, claws, rough seas under a reddened sky, neon lights reflecting in puddles, canes of white-painted bamboo, a koala sleeping on a limb. I see a landscape of fells with pine trees, stone sculptures under a sunset sky, a back eddy of murky water, melted chocolate, the head of a staring cat, a hugely magnified thumb, bundles of fabric, rocks covered with lichen or algae, Arctic landscapes" Karl Ove Knausgård Please Notify the Sun \nSigned Copy \nPhotographs by Stephen Gill \nWords by Karl Ove Knausgård \n3 Part cloth bound hardback \n168 Pages 111 Colour plates 216 mm x 270 mm \nBook contains inserted saddle stitched booklet with text 132 x 210 mm \nPrinted in Denmark at Narayana Press \nPaper from TAKEO Co., Ltd. Japan \nVENT NOUVEAU V-FS white 151g/? \nTANT?SELECT TS-3 N-57 116g/? \nSATOGAMI silver gray 81g/? \nBound in Germany at S.R Buege \nEdited and sequenced by Stephen Gill \nDesigned by Greger Ulf Nilson \nPublished by Nobody.
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Librería: Phototitles Limited, Market Rasen, LINCS, Reino UnidoPhototitles Limited
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Añadir al carritoHardcover. Condición: New. 2nd Printing one of only 400 copies Signed by the Photographer Quoted extract by Karl Ove Knausgård, an essay written and to accompany The Pillar 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 backdr…op 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 Photographs by Stephen Gill Words by Karl Ove Knausgård 3 Part cloth bound hardback 224 Pages 96 Quadtone black and white plates 31 Colour plates 216 mm x 270 mm Book contains inserted saddle stitched booklet with text 132 x 210 mm Edited and sequenced by Stephen Gill Designed by Greger Ulf Nilson Published by Nobody.
