For his photo series The Pillar (which is also a book), Stephen Gill set up a camera next to a post near his home in Sweden and set the shutter to fire when a motion sensor was triggered. “I decided to try to pull the birds from the sky,” he said.
A selection of Gill’s photographs were published by the New Yorker, accompanied by a wonderful short essay by Karl Ove Knausgaard.
Tags: birds Karl Ove Knausgaard photography Stephen GillA 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 the photographs in Stephen Gill’s book “The Pillar.” 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 bit of 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. The first time I looked at the photographs, I was shaken. I’d never seen birds in this way before, as if on their own terms, as independent creatures with independent lives.
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