Horizontal Photography

Welcome (B&W) 2021 ARCHIVAL PIGMENT PRINT Unframed Sizes: 33 x 45 in (83.82 x 114.3 cm) - Edition of 10 + 2 AP (Artist Proofs) 44 x 60 in (111.76 x 152.4 cm) - Edition of 10 + 2 AP ...

""Plume" As the elephants toss the dirt, it rises in an arc- like a firework- above their heads, creating a temporary marriage of modern art and our natural world. Exceptional Crea...

Michael Jackson is a vintage black and white photograph realized in the 1990s. Good conditions.

This early-1980s photograph, taken by society photographer Slim Aarons, features Italian mountain climber and explorer Count Guido Monzino (1928-1988) rowing on the waters of Lake Co...

Bikes in Amsterdam - Vintage Photograph is a black and white photograph realized in the 1960s. Good condition. 

This mid-1960s portrait photograph, captured by society photographer Slim Aarons, features two people horseback riding at the Rawlins Plantation...

Born and raised on the Central Coast of California, Dylan was brought up raising horses, surfing and skating throughout his youth. The pursuit to tell stories came naturally when he began pointing his camera towards what and who he loved most. Now known for his work in the Outdoor and Editorial realms Dylan travels the globe shooting with Top Athletes and brands. Dylan now resides in Ventura...

Low angle photo of Robert Plant singing downstage with John Bonham in the background. Shot at the Forum in Inglewood on June 25,1972. About The Print: Archival pigment print on 100...

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 A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further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...

American Cowboy (B&W) 2018 ARCHIVAL PIGMENT PRINT Unframed Sizes: 30 x 45 in (76.2 x 114.3 cm) - Edition of 10 + 2 AP (Artist Proofs) 13 x 20 in (33.02 x 50.8 cm) - Edition of 10 + ...

Deborah Harris is photographed on location in Malaysia wearing a custom-designed mermaid’s tail by Bob Mackie for Town & Country in February of 1990. This story was photographer Norm...

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...

Dining al Fresco on Capri, 1980 - Faraglioni Rocks Capri View Bougainvillea by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Ed...

Gerald Berghammer - Color cityscape photography. View of Venice cityscape featuring Campanile di San Marco, historical buildings, and domed structures. All Gerald Berghammer prints ...

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...

Water is constant in the artist's visual investigation, for her water is no longer the stage in which the body's memory bursts, but rather the environment and protagonist, constant o...

This late-1950s photograph, taken by society photographer Slim Aarons, features holidaymakers waterskiing in front of the Carlton Hotel, Cannes. This is an estate-stamped and hand-n...

large scale photograph of iconic American vintage car with crimson red sheetmetal paint and custom logo tag Marshall by Frank Schott 48 x 75 inches (122 x 191cm) edition of 7 signed 25 x 40 inches (64 x 102cm) edition of 25 signed archival fine art pigment print signed & numbered by artist on certificate label Frank Schott was born in Germany where he spends nights shooting the great bands and musicians of the 80s, while attending the Academy of Arts in Cologne under Professor Arno Jansen. His early photography work focuses on beauty and fashion, later evolving to include conceptual landscapes and large scale environments, while never losing the eye for details. In 1998 Frank moves to California. He draws inspiration from the epic landscapes and distinct architecture of the American West as much as from his travels abroad. Edition EKTAlux offers an evolving curated selection of collectable large-scale photography in strictly limited editions, while working closely with each artist to guarantee state-of-the-art museum level print and framing quality. Custom / larger print sizes available on request Images can be printed with white border [ 2" L prints & 4" XL prints...

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...

Listing includes free shipping for unframed prints and 14-day return policy. Ian Ruhter Tunnel View, Yosemite 30 x 40 inch archival pigment print Edition...

Private Booths, New York City street neon. This artwork is part of Richard's portfolio of street photography he is building up which depict the colour, ...

A vintage, 1920s gelatin silver print by Tina Modotti of a mural fresco by Diego Rivera (from the Agricultural School in Chapingo, Mexico). Stamped “Photographs-Tina Modotti Mexico,...

Arcangelo is a limited-edition photograph by British contemporary artist Gina Soden. This photograph is sold unframed as a print only. It is available in 3 sizes: *44.64 × 64.96 cm...

The End of Love (The Girl behind the White Picket Fence) - 2013 80x101cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the 25 original Polaroids. Signature lab...

"Blue Fall" exemplifies contemporary underwater fine art photography, merging surrealism with dynamic motion capture. In this ethereal composition, a figure in striking red fabric de...

Michael Kenna is master of contemporary photography. Known for clean compositions, long exposures and minimalist aesthetics, Kenna’s signature style remains highly influential among ...

Joan Didion in front of her Daytona Yellow Stingray Corvette, 1968, Time magazine TIME commissioned this portrait of author Joan Didion photographed...

This long narrow monotype was made by carefully arranging hundreds of individual blades of fresh-cut native Californian wild grass. The species of tall marsh grass is called Gray Rus...

"Freedom on the Plains" Herd of wild horses gallops in this atmospheric print in black and white A herd of horses moves from right to left in this epic, atmospheric black and white...

Paris Café from the Paris In Colour Series 1956-61 By Peter Cornelius 40 x 30 inches / 101 x 76 cm paper size Printed 2022 Archival pigment print Framing and other size options av...

Archival Pigment Print - Unframed - Ask us for custom framing options. Signed by the artist 44 x 55 inches – edition of 10 Extinction Nocturne newest series by David Burdeny. This...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

Patti Smith taken in NYC during a 1975 Iran War protest by Lynn Goldsmith. Recently framed with non-glare museum glass, signed limited edition 16x20" print, edition #1/20 Lynn Go...

The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, scho...

Young Velvets 1949 (Photo Norman Parkinson) Fashion models wear a variety of hats on the roof of the Conde Nast Building against a view of the New York skyline for Vogue, 1949, Manh...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, loc...

"""Sun & Moon"" Incredible color image of two king penguins standing face to face Stunning color photograph of two king penguins in the Falkland Islands facing one another in a per...

Archival pigment ink print, produced in a limited edition of 7 // Gallery ID: 21299 Fine art prints are produced to order on Hahnemühle Photo Rag Baryta. Each print is stamped on the...

'Cold Song III' exemplifies the avant-garde evolution of underwater fine art photography, merging contemporary conceptual art with technical mastery. This ethereal composition captur...

Aditya Dicky Singh Untitled Photograph on fine-art Hahnemuhle archival paper 33" x 46" unframed (84cm x 117cm) 2022 Edition 1/8 Aditya Dicky Singh's images have enthralled many and ...

“The hovering installations featured in this ongoing series of photographs are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, sch...

Heather Hollis Marvelous Manta Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2025 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached verso) COA provided (issued by representing gallery) *Framing options available. Please inquire. **Other sizes available. Please inquire. Marvelous Manta captures the effortless grace of one of the ocean’s most majestic beings. Gliding through clear blue waters with wings that move like poetry, the manta ray embodies both serenity and strength in motion. Its fluid silhouette and rhythmic movement reveal the quiet power and beauty that exist beneath the surface — a world rarely seen yet endlessly captivating. This piece is a tribute to the wonder of marine life, celebrating freedom, harmony, and the breathtaking elegance of the underwater realm. Heather J. Hollis is a self-taught fine art photographer whose work captures the quiet poetry of nature. Rooted in resilience and empathy, her imagery transforms fleeting moments—like delicate fungi blooming on a Missouri tree—into meditations on beauty, endurance, and light. Now exploring both land and sea through her lens, Heather continues to reveal the extraordinary within the everyday. Heather Hollis, fine art photography, manta ray photography, marine life artwork, underwater elegance, ocean wildlife, graceful sea creature, fine art marine print, serenity in motion, blue ocean waters, aquatic majesty, underwater freedom, poetic movement, peaceful sea life scene, ocean conservation, captivating manta ray, calming ocean wall art

Christopher Makos, American Photographer b. 1948. Tattooed Man Holding Cat, ca 1970. Signed in red pencil on verso. Size 8.25 x 10 inches. Unframed and unmounted. This example was...

'Sucking / Brushing' (Sidewinder) 2005, Edition 3/5, 6x48x59 each, 1x60x48cm, installed including gaps and white spaces 60x423cm, 7 pieces, 7 analog C-Prints, hand-printed by th...

Amour - Limited edition archival pigment print , Edition 1 of 15 Custom size possible Handwritten on a Parisian pavement, Paris, France. Landscape format. This print that is being...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism TOPIARY II by Fran...

In this series the artist found that the rocks were so round that they looked like prehistoric holes, each one telling a story and reflecting a bit of her soul. Mauricio Velez's pho...

The pool n°5 is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm × 75 cm (19....

Water is constant in the artist's visual investigation, for her water is no longer the stage in which the body's memory bursts, but rather the environment and protagonist, constant o...

Emerald Marilyn Oversize Signed limited edition - Pop Art - Marilyn Monroe by the London based contemporary pop art image creator and artist, BATIK. Measures approximately 30 x 2...

'Bucking Bronco' is a black and white photographic print by Michael Ormerod. Featured in the 2024 posthumous solo exhibition, 'Michael Ormerod: Vanishing Point'. Michael Ormerod w...

Hôtel des Cabines n°5 is a photograph by French contemporary artist Camille Brasselet. This photograph is sold unframed as a print only. It is available in 2 dimensions: *50 cm × 7...

Underwater photograph of a young woman in red dress dancing underwater in a pool. A very bright photograph with plenty of sun and positivity. The model was an amazing Russian dancer...

A contemporary photograph of an AC/DC - Back In Black cassette tape. "They encapsulate an era instantly transporting the viewer to another time." - Destro Printed on Archival Paper...

May 27, 1963: American Heavyweight boxer Cassius Clay (later Muhammad Ali) lying on his hotel bed in London. He holds up five fingers in a prediction of how many rounds it will take ...

Poolside Pairs, 1970 - Poolside Gossip and Glamour in Palm Springs Landscape by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. E...

Gaia 117 by Jaume Llorens Bach Gaia 117 is a 18cm x 24cm Black-and-White print on Premio Kozo 180gsm White Paper by Awagami Factory This size available in a Limited Edition of 10 +...

Untitled Flower #15 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x ...

Alfie Bowen has masterfully used contrast to highlight the tiger's regal features, from the symmetrical stripes adorning its face to the texture of its whiskers. The monochrome palet...

Untitled Flower # 86 Hahnemuhle Photo Rag Matte Paper with Epson archival quality ink Edition of 25 Available sizes: 11" x 14” 20" x 24” 30" x 30” 30" x 40” 40" x 40" 48" x 48” 48" x...