18 Newman St, London W1T 1PE. UK
+44 (0)207 439 0678
Wallstrasse 1, Berlin. 10179 Germany
+49 30 9900 6821
111 Bowery, 2nd Floor, New York
NY 10002. USA
+1 212 343 7491
Unit 3, 231 Stoke Newington Church St, London. N16 9HP
Greg’s work reveals a love of function and mystery combined in the graphic elements of architecture and landscape. He is inspired by repetitions of form in space. An unflinching modernism and cool detachment inflects all his images, in the bright whites of super-watt bulbs and in light-filled landscapes. Greg’s often heroic portraits show sitters in context and in moments of reflection. He thrives on problem solving and developing creative ideas. His unassuming approach is based around simplicity, shape and structure.
Greg recently photographed the tight-knit generations of Thames watermen, capturing an archaic and little-known way of life before it passes into history, working alongside the director of a forthcoming documentary and exhibition. Other powerful portraits include Nike’s up-and-coming footballers Neymar, Piqué and Sneijder; and an elegiac series showing the changes in a Welsh village brought about by the closure of the local slate mine.
His first monograph, Svalbard, was published in 2010 and most recently Chernobyl was published in 2013 in which his images of the devastated area combine with portraits and landscapes of the New Safe Confinement: a huge engineering project to make safe the Chernobyl Nuclear power plant.
Born in East Yorkshire in 1978, Greg studied at Nottingham Trent and Blackpool, graduating in 2002. Greg now lives in London with his partner and baby daughter.
Notable awards include the prestigious title of AOP Photographer of the Year (2008) and ADC Young Gun in New York (2009).
Greg’s work has appeared in GQ, Wallpaper*, Wired, The Times, Eureka, Next Level, Creative Review, MARK, V-Man, LIV, Car, Four Seasons, Rocks, Dazed, Ferrari Mag, Lexus Mag, Popular Science, Process Journal, BJP, Mosaic, Baku and Viewpoint.
He has photographed cars for Rolls Royce, Aston Martin, Toyota, Peugeot, BMW, Audi, Nissan, Volkswagen, Jaguar Land Rover and Lexus among others. Client commissions include Vodafone, O2, Barbican, BP, Nike, BNP Paribas, Glenmorangie, New Era, Swarovski, Royal Mail, The Times, TFL and COI, Ubisoft, Vaseline and Sony.
"In April 1986, reactor No.4 of the Chernobyl nuclear power plant exploded. Helicopter pilots spent two weeks dumping thousands of tonnes of sand on the fire before it was finally extinguished. Soldiers then used wheelbarrows and shovels to collect radioactive rubble, which they tipped into the central heap. Finally construction crews arrived. During the six months proceeding the accident they built a steel and concrete containment structure over the reactor's remains. They nicknamed it the Sarcophagus. It was badly constructed. It has corroded. Now it could collapse."
This photography book studies two of the surrounding areas to the Chernobyl Nuclear power plant as well as the plant itself where a large scale engineering project is well under way. Foreword by Andrew Hankinson and designed by Tom Munckton the book is section sewn and has a unique fold out cover with an inner cover as well, reflecting the protective objectives of the New Safe Confinement documented in the book.
Limited to 300 copies
72 Pages full colour
Published 2013 Greg White Photography Ltd
"In the Svalbard archipelago, over 600 miles north of Norway, the sun doesn't set between April and August. From October until February, on the other hand, it doesn't appear at all. As one of the closest landmasses to the North Pole, it may seem an inhospitable climate for all but the most resilient of miners or fishermen. Near the northerly town of Longyearbyen on the island of Spitsbergen, however, the agricultural equivalent of Noah's Ark is nestled in the side of a snow covered mountain...."
The book is cleverly divided into two distinct sections: the first studies the landscape and inhabitants of this Arctic outpost, the second then explores the impressive Svalbard Global Seed Vault and more. The binding reflects the rough nature of the environment and inside uses a considered mix of semi-gloss and matt paper stocks, all brilliantly designed by Tom Munckton.
Limited to 500 copies
64 Pages full colour