In the mid 2000s Stephen Gill produced a number of special edition photobooks, published through his own imprint, Nobody, documenting the area now being reconfigured as the future London 2012 Olympic park. In this chapter I consider Buried (2006) [and Hackney Flowers (2007)] as an example of this work. What does the act and metaphor of burial mean in this context? How should we understand Gill’s methods within the wider context of the history of urban photography, and its contemporary modes of operation. The combination of low-tech equipment and simple photographic formats with more active and labour intensive processes such as collage, burial and retrieval, lend these images poignancy, and engage the photographer and viewer in more dynamic exchanges with the sites they depict than documentary photographs and photographic archives typically allow. They also contrast with the seamlessness and decontextualising impulse of photo-simulations and architectural photographs circulating within the highly controlled official discourses of the Olympic development process: what Iain Sinclair, one of the most vocal critics of the Olympics, refers to as 'CGI smears on the blue fence'.