Art by Medium: C Print

Kunsthistorisches Museum Wien, Neue Burg, Vienna 2014 C print Signed and numbered edition of 5 Mounted and framed The photographer is based in Florence, and is fascinated how his ar...

Untitled 2019, 20x24cm, Edition of 1/10. Digital C-Print based a Polaroid Collage. Hand-signed and numbered by the artist on the back with Certificate. Not mounted. Josey Cary Pol...

Circle Irrigation 10 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *90 cm...

This is an aerial photography that was not manipulated or color corrected.

Series: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 24" x 30" 32" x 40" 48" x 60" 57" x 72" 67" x 84" Editions of 3 + 2 Artist...

Star me Kitten - 2017, 50x50cm. Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, not mounted. Signature label with certificate. Artist inventory PL201...

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

News Stand, photograph from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project at the Affordable Art Fair Milan 2019 and the series i...

Stars 5, 2014 - Stars and Trees in Ancient English Woodland and Forest Landscape by Ellie Davies Stars 5 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Rainbow Apartments, Italian architecture photograph from Richard Heeps series A Short History of Milan. A Short History of Milan' began in ...

Harry's Corner, on the Wildwood Boardwalk, New Jersey. Taken in April 2013, it was first executed in Richards's darkroom in October 2020. Capturing the joy of the American seaside fa...

Island Haze (2018) Edition of 10 - 40 x 40 cm - Digital C-Print based on a on a 35mm film, not mounted. Signed on back and certificate. Artist: Shot at high summer in 2018 toward...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The baby blue co...

Baltic Ice II, Paernu 007 is a limited-edition photograph by German contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 4 dimens...

Belles of Shoreditch, Richard Heeps photograph taken backstage at the London Burlesque event The Whoopee Club. Richard Heeps became well-known for his Burlesque Photography after he...

Our gallery has the most extensive art photography of New York City, due to our abiding love for the city. We present the work of different photographers, some of whom are emerging talents who have had their work published in noted magazines in Europe or the USA, others, who are recognized for their work in international photography competitions. ABOUT THIS PIECE: This is drawn from archive of an award winning photographer. The work is a C print -sold print...

A man with x-ray vision, Nick Veasey creates art that shows what it is really like inside. Original artwork. C print, Chromaluxe. Signed and numbered out of 25. Accompanied with th...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

Jane Bond I (Heavenly Falls) - 2016 20x20cm, Edition of 10, Archival C-Print based on the Polaroid Certificate and signature label, Artist inventory number: 19502. Not mounted. ...

Stefanie Schneider Polaroid sized unlimited Mini 'Long Way Home' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Edit...

No Parking, urban architecture photograph from Richard Heeps' series, A Short History of London. The stark Brutalist architecture has sense of beauty as the hypnotic symmetry draws y...

Computer, from Richard Heeps Bletchley Park series. Richard photographed Bletchley Park in partnership with Hertfordshire University and Bletchley Park Trust, to document Alan Turing’s historic past at Bletchley. He was privileged to gain access not open to the public. This World War II German Enigma Machine...

D. and Felix (Stranger than Paradise) - 1997 Edition of 2/30. Image size 16 x 21.6 inch, External dimensions: 17.7 x 23.3 inch. Archival C-Print, based on the Polaroid. Mounted...

At first glance, Mark Bartkiw’s artwork looks like another beautiful photograph. Look again and you’ll see a clever collage of images that creates an almost magical, ethereal landsca...

Series: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 Artist...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additi...

Unknown Girl 01 - Street Portraits (Stranger than Paradise) - 1999 Edition of 10, 40x40cm. Archival Print, based on the Polaroid. Signature label and Certificate. Artist Invento...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

“ Amazon “ giclee print On Hahnemuhle paper, edition 3 of 20 Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These s...

Gestures (Stranger than Paradise) Edition 1/5. 12 pieces, 48x46 cm each, installed: 207x155 cm. 12 Analog C-Prints, hand-printed by the artist, mounted on Aluminum with matte UV...

Crater is a limited-edition photograph by contemporary artist Luca Marziale, from the Fracture series. This photograph is sold unframed as a print only. It is available in 2 dimens...

French actress Brigitte Bardot on the set of "The Ballad of Frenchie King" in Almeria, Spain, 1971 Posthumuous c type estate print with digital signature 72 x 108 inches Edition ...

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

African Mines 001 is a limited-edition photograph by contemporary artist Bernhard Lang. This photograph is sold unframed as a print only. It is available in 3 dimensions: *90 × 72 ...

Palm Springs Palm Trees V (Californication) - 2019 50x50cm, Edition of 10, digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory Number 22169. ...

North Shore Motel Steps, mid-century architecture photography captured by Richard Heeps as part of his Salton Sea series. This artwork is a limited edition of 25 gloss photographic ...

'Telephone' from Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography has a dreamy mid-century modern nostalgic vibe. Primarily known as a color photo...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Series: Dirty Side of Glamour Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 A...

Aerial Views, Tulip Fields 05 is a limited-edition photograph by German contemporary artist Bernhard Lang. Available dimensions and editions: - 60 x 75 cm: edition of 10 - 96 x 120 ...

Breakdown (Bombay Beach) - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL...

Driving - Henry's Memory Sequence (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2498 Not mo...

The way we were (Till Death do us Part) - 2005 48x58cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9088. No...

Pink Storm #2 Digital C-Print 3 sizes: 39.3' x 39.3", edition of 6 + AP 27.5" x 27.5", edition of 3 + AP 15,7" x 15.7", edition of 6 + AP This floral photog...

There is a cinematic style to this artwork, Lone Pine, taken in a former movie town in California, many Western films were made there. Taken outside Richard's iconic interior photogr...

The Juncture (Till Death do us Part) - 2005 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventor...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay'. Featuring Ewan McGregor, Naomi Watts, and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's...

48x47cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9309 Not mounted. Stefanie Schneider's...

Taken upon arriving in Las Vegas, photograph from Richard Heeps' 'Dream in Colour' series, this artwork captures a classic American neon Googie sign, with the famous Vegas cityscape ...

Foyer VI, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become ...

Red Dinosaur, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has be...

Renée's Dream XI (Days of Heaven). Part of the 29 Palms, CA Project - 2006 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label ...

Utopian Foyer II, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork ha...

Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing performances in Britain & America. He spent a lot on time with his subjects on a number of...

Taking Turns (Till Death Do Us Part) - 2006 40x48cm,. Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist ...

New Release - January 2026 "David Bowie - The Pack" New York, 2001 Museum quality fine art print of David Bowie by photographer Markus Klinko, from his celebrated collection "Bowie...

Utopian Foyer II, from Richard Heeps series A Short History of Milan, which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork ha...

Untitled (Sidewinder) 2005 - Edition 2/5, 57x56 cm. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Polaroid. Artist Inventory ...

Available Sizes: 30" x 45" Edition of 15 40" x 60" Edition of 10 48" x 72" Edition of 5 Amari: Compared to his brother, Amari was a bit more calm and relaxed on set. I thought it w...