From 1st April – 13th May, Rough Trade East are showing Steve Gullick's first ever exhibition of work in London. Renowned as one of the world's best rock n' roll photographers, this hand printed selection includes powerful images of Nick Cave, Neil Young, Cat Power, Jason Pierce, Nirvana, Thurston Moore, Seasick Steve, Kim Deal, The Raconteurs, Mercury Rev, Jeff Buckley and Grinderman amongst many others. The April 1st opening will be celebrated with live performances from Ed Harcourt, Duke Garwood and Tenebrous Liar along with DJ sets from Soulsavers & Jim Sclavunos.

Here, the man who also created the classic underground music mags 'Careless Talk Cost Lives', and Loose Lips Sink Ships', talks about how the show came about and the story behind some of his most iconic images.

Dazed Digital: Steve, why are you doing this show now?
Steve Gullick: I was convinced by my agent to do an exhibition in Los Angeles in January. While I was doing it I got really into printing pictures - I never really printed my pictures big before, there was never a reason to. As I was assembling it I thought it would be cool to show them in Coventry as well, which is where I am from. So I did another set of pictures and put them up at the same time. I really liked the ludicrous concept of showing it simultaneously in LA and Coventry. I really enjoyed both experiences, and decided that I'd show it in London and print a lot more new pictures. There are at least 10 or 15 pictures that I didn't get the time to print, and there's no space for them anyway.

DD: So, how many pictures are going to be shown in the Brick Lane show?
SG: I think there's about 45. They all about 25" by 16" - pretty big. I think I'm going to price them according to how difficult they are to print. For example Bjork would be really expensive, because that photo was really hard to print.

DD: It just looks like a straight black and white to me...
SG: Ha! When I printed that I had to block out the background, I can't stand the background that was there. I used to paint these canvases backgrounds, and I just don't like it. There are bits of it you can still see at the bottom. I wanted it to look sort of avant-garde, you know, just straight white, it's really difficult to print that.

DD: So you still do it by hand than on a computer?
SG: Absolutely, I'm a craftsman baby! Obviously they've been through a computer, as you've got it on your website, but there's no retouching on the computer, it's all completely manual.

DD: Tell me about this picture of Jason Spaceman (above).
SG: That was taken on Mount Etna, when it was erupting.

DD: Did it take a lot of persuasion for Etna to erupt on cue?
SG: No, it was erupting anyway! When we arrived all my gear had got robbed, except what I had in my hand luggage. We just hired a car and drove around the island for a couple of days Jason had his furnace suit on and I had an out of date press pass. It looked amazing.

DD: Your shot of Bonnie Prince Billy is pretty iconic.
SG: It's an interesting composition, it's quite classic. We met at the Columbia Hotel, and Will was pretty fucking miserable. I just took the shots purely because I had to get some shots, and it turned out pretty well. I don't like to be too in control, I think it's more creative if you don't know what's going to happen next. For me, the best pictures have come out of problems really. My job is taking an interesting picture in every situation.

DD: Cat Power is known for being quite up and down, was that a tough shoot?
SG: That was in a hotel room, she was doing press in that hotel room, she wanted me to do some press pictures and I turned up, spending a few hours just snapping. It wasn't a great room for taking pictures really, but this one came out really well. I think I'm quite similar to a lot of these artists. I'm up and down a lot myself. The best compliment I can get is if someone says 'that was painless'. That is why the people get me doing their photographs, because I make it easy for them, and the pictures generally come out ok.

DD: Tell me the circumstances that led to your picture of Kurt Cobain.
SG: I was in America for the Melody Maker with Everett True and we just thought to spend a couple of days with Nirvana. I actually driven from New York to Pennsylvania by Dave Baker, who was the first singer in Mercury Rev. And then we just travelled with Nirvana to Springfield, Massachusetts, which is where that picture was taken. That picture was taken just before they went on stage. He was just sat there, reading letters, playing the guitar. He didn't mind me being around, that's why the picture is the way it is - there was no pressure.

DD: What was your personal recollection of working with him?
SG: He was a beautiful man, good-natured, good-humoured, generous, patient...

DD: Your Ed Harcourt photo makes him look like a floating demon - was that your idea? SG: Ed wanted the pictures to be taken underwater for his album cover, with a piano under water. We found this pool with a viewing window under the water. Everyone has seen underwater pictures, but I thought, 'let's make it more hellish and make the water go red'.

DD: Did you actually dye the water?
SG: No, it's just light, the water was normal. I think the walls of the pool are black and I just put loads of light into it. I didn't get it all red, but I managed to get clean light on Ed, which was quite tough. Ed could go down for three shots at a time. There were some funny moments when he was underwater, nearly dying... the heater also broke down, so the water was freezing. He looks really well there.

DD: Apart from doing the exhibition, what else are you doing? SG: I have done a lot of pictures of the Futureheads recently, for the album, that has been fun. I've also been working with Nick Cave a lot. I can't think what else. I can't remember, I do something and then just move on.

Tenebrous is on at 'Dray Walk', Old Truman Brewery, 91 Brick Lane, London, E1 6QL. Tel: 020 7392 7788